From Chamba Rumals and Kantha embroidery to Kalamkari and Kanjivaram brocades, one can find a rich repertoire of textiles that feature religious imagery across the Indian subcontinent. These textiles are used in religious rituals and ceremonies as coverings for sacred objects, offerings to God, make-shift shrines and as accompaniments to storytelling practices. In this topic, we explore how textiles serve as canvases for figural and symbolic representations of deities and how their use is embedded within rituals, traditions, and practices of worship.
Srinathji Swaroop Pichwai, 19th century, mineral pigments on cotton fabric, 199 x 173 cm (Museum of Art and Photography, Bengaluru)
Imagery
South Asian textiles often depict religious imagery and narratives. Pichwais, for instance, feature Shrinathji, an avatar of Lord Krishna, and are hung behind the idol at the Nathdwara temple in Rajasthan. They incorporate diverse traditions such as block printing, painting, embroidery, and even machine-made lace. While textiles such as Chamba Rumals usually represent the Raas Leela, a mythological episode narrating Krishna’s dance of passion with the women of the village called Gopis, Pichwais illustrate tales from the deity’s childhood as a 7-year old cow-herder. The representation of Shrinathji on these textiles draws heavily from other visual art of the region, such as Rajput schools of miniature painting. As you can see in the images, Shrinathji is commonly seen with his left hand raised, to invoke a famous legend about Krishna lifting a mountain to protect the people of his village from the relentless rain. He is most often depicted in colors such as blue and black. Along with embodying unique aesthetics, Pichwais are also embedded within ritualistic practices and are an important part of Krishna worship in the region.
Thangka Depicting Mahasiddha Avadhutipa, c. 1600, distemper on cloth, 78.7 x 66 cm
Another rich source of religious imagery in the subcontinent can be found in the Buddhist Thangka scrolls of the Himalayan region, primarily Sikkim, Nepal, and Tibet. The visual representation of deities on these textiles, including hand gestures, bodily poses, and color, are carried out in strict accordance with rules laid down within ancient scriptures. These narrative scrolls also depict mythological episodes and contain motifs such as mandalas. They incorporate several complex techniques such as Gyasar brocades, appliquéd silks, satin weaves, and embroidery. Thangkas mainly serve as pedagogical tools in monasteries to guide meditative practices and teach scriptures to younger generations of monks.
Thangkas and Pichwais not only serve as containers of a rich visual culture, but also as we have seen, embody religious meanings and functions.
Portable shrines
Textiles are believed to possess sacred powers due to their material and spiritual significance in various rituals of worship. They often also serve as altars that communities revere and venerate, carrying out architectural functions such that they simultaneously embody the deity and the shrine. They contain narratives of village or tribal deities that are otherwise only preserved in oral traditions.
Mata Ni Pachedi, 20th century, cotton, natural dyes, 224 x 136 cm (Museum of Art and Photography, Bengaluru)
Mata Ni Pachedis, for instance, belong to a subversive religious practice of the Vaghri community of Gujarat. These textiles were used as tent-like shrines as the community was barred from entering temples due to their lower-caste status. Hand-painted or block-printed, predominantly in shades of maroon and black, they depict the miracles performed by patron deities.
Pabuji Ki Phad, late 20th century, fabric paint, cotton, 165 x 91 cm (Museum of Art and Photography, Bengaluru)
Similarly, Pabuji ki Phad documents stories from the life of Pabuji, the folk deity of the Rabari community in Rajasthan. It is said that the Phad, or the shrine cloth, gains its sacred powers once the eyes of the deity are painted onto it. This ties in with the spiritual concept of darshan, the ritual act of seeing and being seen by a deity, a potent form of worship in many religions across the subcontinent. In addition to being worshipped by the village Bhopa, or priest, the Phad is also a visual accompaniment to oral storytelling and songs that praise the deity.
This wall hanging includes the Charan Chinhas (sacred footprints) motif, as well as an embroidered inscription of the the name and title of the guru Vijenji. Wall Hanging (Puthia) Depicting the Feet of a Jain Monk, 1667, silk plain weave with silk, silver, and silver-gilt thread embroidery in couching, chain, darning, and satin stitches, 33 x 38.4 cm (Philadelphia Museum of Art)
Symbolism and allegory
Very often sacred textiles refer to spiritual concepts symbolically, instead of visually representing images of deities. In some cases, such as the Namavali textiles, the names of gods or goddesses are painted, printed, or embroidered on fabrics to imbue them with spiritual powers. Such textiles are then worn by devotees during festivals and religious ceremonies. Others have specialized motifs associated with the deity instead of bodily representations. For instance, in Jain embroidery, some gurus are represented through aniconic motifs like Charan Chinhas (sacred footprints) rather than figural forms. Additionally, the word of God directly inscribed on textiles, or recited during their making have also imbued them with protective powers.
Zardosi Temple Backdrop (Chod), 20th century, silk, cotton, gilt metal yarn, gilt metal wire, sequins, gilt metal bullion, 58 x 104 cm (Museum of Art and Photography, Bengaluru)
Jain shrines also use ornamental wall hangings, known as Chods, as backdrops to deities in temples. While they are not independently worshipped like shrine cloths, they form an important part of the Jain faith as they contain symbolic imagery. Typically, they feature Surya and Chandra, the sun and moon gods, alongside floral, animal, and figural motifs. These are most commonly found in conjunction with a matching square canopy, Chandarvo, that is hung over the deity.
Darshan Dwar Phulkari, 20th century, cotton, floss silk, 208.5 x 134 cm (Museum of Art and Photography, Bengaluru)
Finally, some textiles not only use motifs to symbolize deities and gurus but to also recall sacred spaces. For instance, the Darshan Dwar Phulkari of Punjab (present-day India and Pakistan) prominently features an architectural gateway motif, signifying the entrance to Gurudwaras, shrines of the Sikh community. Pieces of Phulkari embroidered with this motif are often presented as offerings to God.
In recent decades, ritual textiles such as Pichwais, Thangkas, and Mata Ni Pachedis have begun to be produced commercially. Yet, each of them remains associated with sacred meanings for the communities that create and use them. These textiles are carriers of age-old religious practices and are lasting symbols of devotion and spirituality.
Drawing from articles on The MAP Academy
