A living tradition
Pichwai is more than a painting, it is a devotional textile tradition that has preserved stories of Lord Krishna for centuries. Traditionally placed behind the shrine of Shrinathji, the child form of Krishna, these richly detailed works reflect the rituals, seasons and festivals of the Pushti Marg tradition.
This heritage takes centre stage at Craft Council of Telangana, Pichwai’s Parampara has arrived in Hyderabad – An ongoing Cultural Experience not to miss. Parampara: Pichwais Past, Present and Future, MeMeraki’s third Pichwai exhibition in Hyderabad. On view from September 27 to October 3, 2026, the exhibition presents more than 50 works by five master artists, tracing the journey of Pichwai from temple spaces to contemporary interiors.
A brief history of Pichwai
The word Pichwai refers to “that which hangs at the back”. The art form emerged around Nathdwara in Rajasthan and is closely connected to the worship of Shrinathji. Depicted with his left arm raised, Krishna is shown lifting Mount Govardhan to protect the villagers from Indra’s fury.
Pichwai compositions portray Annakut, Sharad Purnima, Raas Leela, cows, lotuses, peacocks and temple rituals. Traditionally, the paintings were changed according to the season, festival or daily ritual. The Nathdwara school is recognised for its expressive figures, elaborate ornamentation and devotional imagery.
Five artistic lineages
The exhibition brings together artists whose practices are shaped by artistic and artisan ancestors. Dinesh Soni, a third-generation artist from Bhilwara, continues the classical vocabulary of Shrinathji, cows, festive temple scenes and the Tree of Life. His National Award-winning practice reflects a commitment to preserving the purity of Pichwai.
Jayesh Sharma comes from a family of Pichwai painters linked to Nathdwara for nearly 400 years. A ninth-generation artist, he experiments with composition while preserving the beliefs and stories at the heart of the form.
Naveen Soni represents a younger generation. Working with natural pigments and gold leaf, he combines the Udaipur, Nathdwara and Mughal schools with contemporary sensibilities.
Tradition meets transformation
Shehzaad Ali Sherani represents a 14th-generation Kishangarh lineage. His Radha-Krishna paintings are marked by poetic imagery, refined miniature technique and a deep engagement with Rajasthani artistic history. His son, Faizan, now works alongside him, extending the family’s creative journey.
Trilok Soni brings another important innovation. Recognised for developing the Dwarkadhish style within Pichwai, he has expanded the tradition beyond its familiar visual vocabulary while remaining rooted in its devotional foundation.
Together, these artists reveal that inheritance does not mean imitation. Each generation receives the form, studies its grammar and adds a personal accent.
Parampara in the present
The 50 works move across natural stone pigments, acrylic, gold leaf and silver leaf. Some remain close to classical temple compositions, while others explore unconventional colours, scale and themes.
This movement from temple backdrop to contemporary wall art reflects Pichwai’s ability to adapt without losing its soul. Through MeMeraki’s culture-tech platform, these works reach homes, hotels, offices and public spaces, with augmented reality helping audiences visualise them in new environments.
In Hyderabad, Parampara presents Pichwai not as a relic of the past but as a living chain of devotion, skill and memory. Each artwork becomes both an offering and an inheritance, carrying India’s cultural legacy into the future.
