Pithora Art : A Form of Sacred Expression

Pithora Art is a sacred folk art that is entangled in the cultural and religious beliefs of the the Rathwa, Bhil, and Bhilala tribes of Gujarat and western Madhya Pradesh since prehistoric times. It acts as a link between the tangible and the intangible, conveying tales of divine gifts, reverence for ancestors, and shared customs. Pithora is regarded as a deity, and this god is depicted alongside everything surrounding him: his spouse, the rulers, and various other figures, as well as the sun and moon. One can sense the authenticity in the entire world that has been illustrated through the paintings.

It is interesting to note that Prithviraj III was addressed as Rai Pithora in the Persian chronicals. In his study of Gujarat’s Hindu Castes and Tribes, James Campbell provides information on the ancestry of significant tribes. There are many connections between the Rajputs and the previous ruling class in this survey. He claims that the cultural traits of the various tribes show that they came to Gujarat from regions to the north, east, and south. These moves were caused by either natural disasters like starvation or pressure from more powerful tribes that drove them to more untamed outer areas. Perhaps this exile to the socioeconomic and geographic periphery explains their poverty, illiteracy, loneliness, and fixation on maintaining their unique cultural identities. Pithora Art was further enhanced by the blending of Madhya Pradeshi customs with tribal techniques from Gujarat. The art form may have retained its essential elements while gaining a distinctive regional identity through the use of local motifs, symbols, and rituals.

Pithora art reflects on a sacred activity that is rich in ritual significance and goes beyond simple visual expression. Their main deity, Pithora Baba, and other gods are frequently offered the wall murals, which depict everything from mythical stories to everyday tribal activities. By preserving the oral histories and collective recollections of the community, this art form serves as a visual archive. Every piece of art is commissioned to honor promises or to show appreciation for gifts like a plentiful crop, a safe delivery, or protection from misfortune. Pithora Art uses elaborate layouts and graphics to express stories that are meaningful to both individuals and the community.

Tracing the Roots and its Evolution

In the region surrounding Chota Udepur, the Rathwa Bhils have a living tradition that involves the veneration of horses. A common ritual among these people is the hanging of clay horses at temples as a gesture of gratitude for wishes that have been granted. A significant religious custom includes painting the Pithoro or Pithora on the walls of their homes. This type of painting illustrates various aspects of tribal life, such as people engaged in work, animals, women, the demon king Ravana, the procession of Babo Pithora (the tribal deity), and horses. The Rathwas hold the belief that this deity is present everywhere. He rides a horse and serves to safeguard their village. In times of misfortune—such as illness, childbirth, fires, or financial troubles—the Pithora is called upon, and a vow is made. Once the promised wish is granted, the ritual of painting the Pithora is carried out. For the Rathwas, the Pithora is regarded with such reverence that no family member is permitted to sit with their back turned to the wall bearing this painting. Ancestor worship is linked to the depiction of horses in this piece of art. It is amazing that the locals congregate over 250 terracotta horses, both huge and small, in one place and worship them collectively at a place called Palia. As a result, the worship of Pithora serves both individual and collective purposes.

Usually unmarried girls prepare the brown wall using a mixture of cow dung and clay. After that, the lakhara, who is both a writer and painter, takes over the task. Only men are allowed to draw. Engaged in writing or painting for extended periods, spanning twelve, thirteen, or even fourteen hours, once they finish, they light the lamps, and while the painting is being created, the people continuously play music and dance in a trance-like state within a charged atmosphere, followed by a sacrifice and a feast. Without the ceremonial singing and chanting, the paintings are not complete. The “panghu vidhi” and “Makai ni vidhi” rituals connected to the installation of the Pithora painting are overseen by the head priest, or “badwa.” This entire process encompasses the painting itself. For tribal communities, it signifies the presence of a living god within that space.

Throughout the centuries, Pithora Art has developed while still preserving its ceremonial origins. Characterized by its bright colors and lively arrangements, this art form started to receive acknowledgment beyond tribal limits. Artists then create vibrant depictions filled with symbolic elements, utilizing traditional pigments derived from natural resources.

Iconography and Essence

A Pithora artwork has a complex, multi-layered composition. Usually, it has a core panel with smaller scenes on either side. One of the main symbols for Pithora Baba’s heavenly presence is the horse. The painters produce a lively and rhythmic visual impression by using strong contours that are dotted with patterns and vibrant hues.

Pithora paintings are done in the ‘Osari’, or central section of the house. The front wall and the two walls next to it are used for Pithora artwork. Lipai: The walls are covered with a mixture of one layer of white chalk, two layers of cow dung, and mud paste. The brushes used for Pithora painting are made from bamboo sticks, and the colors are made from milk, Mahua liquor, flower seeds, and other plants. In addition to walls, other materials including cardboard, paper, and cloth are also used for the painting. Colors used in Pithora paintings include orange, green, blue, red, yellow, and white (Clay). A rectangular space encloses the artworks. The contained pictures depict the sacred or mythological occurrences.

Pithora motifs include:

• Gods : The main god in the Pithora paintings is Pithora deva. He is the representation of the universe’s many creations. Ganesh, also known as Baba Ganeh. He is regarded as the father figure and possesses an elephant trunk. The rain god and animal protector is Indra, often known as Baba Ind.  For favorable agricultural and livestock yields, Raja Bhoja is worshipped. As the originators of farming, Abho Kunbhi and Mathari are revered. During the erratic monsoon season, their daughter Rani Pithoro is revered. The tribes also worship Rani Kajal, a feminine divinity. She is revered by the tribe as a kuldevi and mother.
• Celestial Elements: The connection between the earthly and celestial realms is symbolized by the sun, moon, and stars.
• Tipna: These are the orange dots that were made with fingers in the middle of the rectangle. They are included once the full composition is finished.
• Shapes and Borders: Different shapes like triangles, rectangles, circles and straight lines and curved lines are used to create borders called ‘Cok’ or a ‘Dhartini Hadh’ and to break the space into different halves to form sphere for particular elements that the artist wants to depict. Generally the uppermost section of the enclosure, above a wavy line with geometric motifs, represents the world of Gods.

• Horse: James Cambell, in the Gazetteer of the Bombay Presidency , has noted that in Gujarat, among the Rajputs , worship of the horse on specific auspicious days is an established traditions. The horse is “the most favored and fortunate of all animals,” according to the Satapatha Brahmana. The horse is the strongest, most renowned, most fortunate, and most active animal in the world. The renowned Hindu deities Indra and Vishnu are transported by horses in their sacred history. The horse was seen as a sign of strength, power, and vitality in popular culture, and over time, various social groups in Gujarat began to include horse worship into their religious sensibilities.

• Animals: Both domestic and wild animals are drawn in these paintings. Depiction of camels, deers, horses, elephants, bulls and other animals are presented along with wild plants or small motifs to fill the space.
• Humans: It usually includes different Rathwa myths and chronicles, with kings, farmers, cowherds, traders, musicians, hunters, shamans, banias, badvos and ordinary village folk as part of the picture.

It is interesting to note that Ardho pithoro, or half Pithora, and akho pithoro, or complete Pithora, are the two categories of Pithora paintings. It is dependent upon the vows made and the devotee’s financial situation. Five to nine horses are portrayed in Ardho Pithoro. With the exception of Lord Ganesh, none of them have riders. Eighteen horses and their riders are depicted in Akho Pithoro.

Challenges and Preservation Efforts

Pithora Art has difficulties in spite of its cultural importance. Traditional customs are dwindling as a result of the younger generation’s move to cities. Furthermore, the ritualistic nature of the art has occasionally been diminished by its commercialization. There are initiatives in place to protect and promote Pithora Art. Workshops, exhibitions, and training programs are being supported by government efforts and cultural organizations to assure the continuation of this legacy. The historical and spiritual significance of Pithora Art has been clarified by documentation efforts, including studies conducted by academics like Vibhuti Parikh.​

2018 saw the release of Painting Everything in the World by Harsingh Hamir. The language builds up the story by following the images on the page, while the design highlights the art’s very modern atmosphere. The huge Pithora painting is revealed in a surprise fold-out at the end. To the delight of all, Harsingh became the first indigenous Indian artist to receive an international award, the coveted Korean Nami Concours 2019 Purple Island Prize for Painting Everything in the World. These days, you artists paint on canvas, paper, and other surfaces in addition to walls. They frequently sell and display their artwork at craft fairs, galleries, and museums.

The Rathwa and Bhil people’ strong ties to environment and their spiritual traditions are brought to light by the art form’s development. In addition to protecting a cultural gem, our support and celebration of Pithora Art also pays tribute to the tenacity and inventiveness of the communities who have carried on this practice for generations. A potent way to communicate culture, community, and spirituality is via pithora art. Beyond its tribal roots, its vivid themes and intricate stories continue to evoke wonder and awe, making it a universal representation of artistic and cultural legacy.