Graphical, vivid, multicolored animated images of gods and goddesses, devotees and followers, flora and fauna, splurge the magnificence of narrative art of Mata-ni-Pachedi. The unique feature of this temple hanging is the product layout; four to five pieces of Mata-ni-Pachedi are erected to form a shrine for the Mother Goddess.
A traditional Pachedi is always a rectangular piece of fabric as opposed to a Chandarvo which is a canopy serving in place of a ceiling in a nomadic shrine. The community reverently draws on the fabric and fills in the images by hand. Traditionally this work of art always has an architectural rendering of a temple at its center which also houses the main mother goddess image.
Conventionally, the rectangular fabric is divided into seven to nine columns which followed a narrative format. It also made it easier to interpret and impart the stories within the piece. While earlier imagery always depicted the goddess in the center, modern renditions enjoy a larger degree of artistic freedom.
The central image and surrounding figures may vary in size and position, depending on the artist’s personal creative imagination.
Traditional Trivia
These hangings used by nomadic tribes served the purpose of depicting the epics of mother goddess as well as forming a temporary shrine for her. Traditionally this work of art always had an architectural rendering of a temple at its center which also housed the main mother goddess image. For a nomadic community this was an interesting alternative to a built shrine . A two dimensional structural rendering replete with details of condiments and properties also served as an instructional tool.
Both the Pachedi and the Chandarvo are always framed with a bold border, which is colloquially termed as a lassa patti. After this, comes a band of decorative linear patterns. Traditionally maroon and black were the only colors used, with the surface of the material forming the third color. Black not only was used as a color but also as the outer linings of the icons and the motifs. Filling in the motifs were sometimes replaced by linear work and pointillist imagery. Contrasts between positive and negative spaces formed an important balancer to the work. The maroon and black colors were natural dyes sourced from alizarin and oxidized metal. Maroon was associated with the color of the Earth mother, believed to possess healing powers. The color black was meant to repel malevolent spirits and intensify spiritual energy. White was considered the color for purity and contact with ancestral spirits and deities.
Gradually other colors from nature started adding to the color palette without having any religious significance behind them. As time went by, the community got introduced to pigment dyes which had begun arriving in Gujarat for a fledging textile industry. Exposure to a wider palette meant a riot of color and shade in the Pachedi. Other iconic imagery such as posters, prints, calendars etc also affected this work of art.
Traditional Trivia
These hangings used by nomadic tribes served the purpose of depicting the epics of mother goddess as well as forming a temporary shrine for her. Traditionally this work of art always had an architectural rendering of a temple at its center which also housed the main mother goddess image. For a nomadic community this was an interesting alternative to a built shrine . A two dimensional structural rendering replete with details of condiments and properties also served as an instructional tool.
Both the Pachedi and the Chandarvo are always framed with a bold border, which is colloquially termed as a lassa patti. After this, comes a band of decorative linear patterns. Traditionally maroon and black were the only colors used, with the surface of the material forming the third color. Black not only was used as a color but also as the outer linings of the icons and the motifs. Filling in the motifs were sometimes replaced by linear work and pointillist imagery. Contrasts between positive and negative spaces formed an important balancer to the work. The maroon and black colors were natural dyes sourced from alizarin and oxidized metal. Maroon was associated with the color of the Earth mother, believed to possess healing powers. The color black was meant to repel malevolent spirits and intensify spiritual energy. White was considered the color for purity and contact with ancestral spirits and deities.
Gradually other colors from nature started adding to the color palette without having any religious significance behind them. As time went by, the community got introduced to pigment dyes which had begun arriving in Gujarat for a fledging textile industry. Exposure to a wider palette meant a riot of color and shade in the Pachedi. Other iconic imagery such as posters, prints, calendars etc also affected this work of art.
Geographical Location
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Sarkhej- Ahmedabad district
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Rajula, Palitana- Bhavanagar District
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Girnar, Porbandar-Junagadh
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Dhrangadhra-Surendranagar District
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Ambaji, Koteshwar-Banaskantha District
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Patan-Patan District