Table of Content

Origins and Historical Context
Artistic Characteristics and Symbolism
Notable Artists and Lineages
Central Deities Depicted in Mata ni Pachedi
Composition in Mata ni Pachedi
Motifs and Symbolism in Mata ni Pachedi
Color Palette and Natural Dyes in Mata ni Pachedi
Contemporary Additions (Extended Palette)
Gender Roles in the Creation Process
Conclusion

Origins and Historical Context

The genesis of Mata ni Pachedi is deeply intertwined with the socio-religious fabric of Gujarat. Historically, the Vaghri community, also known as Devipujaks, faced social ostracization and were barred from entering temples. In response, they created portable shrines by painting images of their deities on cloth, allowing them to practice their faith independently. These textiles, often used during festivals and rituals, enabled them to maintain their spiritual practices despite societal restrictions.

The tradition is believed to be at least 300 to 400 years old, with oral histories suggesting a lineage extending back 700 to 1000 years. The term "Mata ni Pachedi" underscores its purpose—serving as a backdrop for the Mother Goddess during worship.

Ambe Mata: Mata ni Pachedi by Sanjay Chittara

Artistic Characteristics and Symbolism

Mata ni Pachedi is characterized by its distinctive visual elements and symbolic representations:

Central Deity: The focal point is the depiction of the Mother Goddess, portrayed in various forms such as Durga, Kali, Bahuchara Mata, and others. She is often illustrated seated on her vahana (vehicle), symbolizing her divine attributes.

Meladi Mata in Mata ni Pachedi by Sanjay Chitara

Color Palette: Traditionally, the art employs a tri-color scheme—red, black, and white. Red, derived from alizarin, signifies energy and the divine feminine; black, obtained from iron rust and jaggery fermentation, offers spiritual protection; and white, the base cotton cloth, represents purity.
Narrative Panels: Surrounding the central figure are panels depicting mythological tales, daily life scenes, animals, and devotees, creating a comprehensive narrative tapestry.
Borders and Motifs: Decorative borders, known as "lassa patti," and repetitive motifs are often added using block printing techniques, enhancing the visual appeal.

Crafting Process

The creation of a Mata ni Pachedi involves meticulous steps:

Fabric Preparation: Cotton cloth is de-starched and treated with Harda (myrobalan) to ensure dye absorption.
Outlining: Using a bamboo or wooden kalam (pen), artists draw the outlines with black dye made from iron rust and jaggery.
Color Filling: Red dye, prepared from tamarind seeds, is applied to designated areas, while other sections are left white.
Dye Fixation: The fabric is boiled in an alizarin solution mixed with flowers like dhawda (Woodfordia fruticosa) to fix the colors.
Washing: The cloth is washed in the flowing waters of the Sabarmati River, a step believed to enhance the vibrancy of the colors and imbue the textile with spiritual significance.

This labor-intensive process can take several days to complete, depending on the complexity and size of the piece.

Cultural and Ritual Significance

Mata ni Pachedi holds profound religious and cultural importance:

Portable Shrines: For communities denied access to temples, these textiles functioned as mobile sanctuaries, enabling worship in various settings.
Festivals and Rituals: They are prominently used during Navaratri and other goddess-centric festivals, serving as backdrops for rituals and ceremonies.
Votive Offerings: Devotees often commission Mata ni Pachedi as offerings to fulfill vows or express gratitude, reinforcing the textile's role in personal and communal spirituality.
Ritual Immersion: Worn or damaged textiles are respectfully immersed in rivers, acknowledging their sacredness even in disuse.

Notable Artists and Lineages

The preservation and propagation of Mata ni Pachedi owe much to dedicated artists, particularly from the Chitara family:

Sanjay Chitara

A distinguished artist from Ahmedabad, Gujarat, Sanjay Chitara is a leading exponent of the Mata ni Pachedi art form. Trained under his father, Shri Chunnilal ji, Sanjay has been instrumental in transitioning the traditional block printing technique to intricate hand-painted artworks. His dedication to the craft earned him the National Award in 2000 and the State Award in 1999.

Notable Works:

Dasha Mata’s Splendour: This piece captures the spiritual essence of Dasha Mata, depicted with multiple arms symbolizing her multifaceted nature. The artwork emphasizes her role as a guardian and protector of travelers.

Dasha Mata’s Splendour:Mata ni Pachedi by Sanjay Chittara

Goddess Durga’s Glory: A vivid portrayal of Goddess Durga, showcasing her divine strength and benevolence through intricate designs and vibrant colors.

Goddess Durga’s Glory: Mata ni Pachedi by Sanjay Chittara

Vasant Manubhai Chitara

Hailing from Vasana, Ahmedabad, Vasant Manubhai Chitara is an eighth-generation artist renowned for his mastery in Mata ni Pachedi. Beginning his artistic journey at the age of 10 under his father's guidance, Vasant has dedicated his life to preserving this traditional art form. His dedication towards the art form has earned him a National and State award.

Notable Work:

Jogni Mata’s Bethak under Tree of Life: This piece depicts Jogni Mata seated beneath the Tree of Life, surrounded by intricate motifs and symbols, reflecting the deep spiritual narratives of the art form.

Jogni Mata’s Bethak under Tree of Life: Mata Ni Pachedi by Vasant Manubhai Chitara

Central Deities Depicted in Mata ni Pachedi

At the spiritual and visual heart of every Mata ni Pachedi lies the Goddess, often placed at the center of the textile composition. These sacred cloths are more than mere artistic renderings—they serve as portable shrines, deeply rooted in Bhakti (devotional) traditions, especially among marginalized communities like the Vaghri, who were historically barred from entering temples. Each form of the Devi (Goddess) portrayed in these cloths represents a specific function, blessing, or protection needed by devotees. Here are the principal deities and their iconographic importance:

Durga Mata – The Supreme Warrior

Symbolism: Strength, justice, and protection.
Iconography: Often depicted riding a lion or tiger, brandishing weapons in her many arms.
Role: She is revered as the slayer of Mahishasura, the buffalo demon. Her victory over evil embodies the triumph of dharma (righteousness) over adharma (chaos/evil)
Placement in Pachedi: Usually placed centrally in a commanding posture, surrounded by celestial beings, musicians, and devotees.
Why worshipped: To seek protection from misfortunes, evil energies, and to gain inner strength and victory over life's adversities.

Maa Durga in Mata Ni Pachedi by Sanjay Chittara

Vahanvati Mata – The Sea-Faring Guardian

Symbolism: Protection of travelers and traders, particularly those navigating treacherous waters.
Iconography: She is often shown seated or standing on a boat or marine mount, flanked by devotees.
Role: Worshipped primarily by coastal communities, Vahanvati Mata protects against shipwrecks, storms, and trade misfortunes.
Why worshipped: Traders, fishermen, and travelers invoke her blessings before embarking on long journeys.

Vahanvati Mata in Mata Ni Pachedi by Sanjay Chitara

Hadkai Mata/ Hadksha Mata– The Healer Goddess

Symbolism: Health, healing, and disease prevention of the livestock.
Iconography: Accompanied by dogs, her vahana (mount), which are symbolic of rabies—the very disease she protects against.
Role: Regarded as a protector from rabies and other contagious diseases. Offerings are often made in gratitude for healing.
Why worshipped: Especially in rural Gujarat, where access to modern medicine is limited, Hadkai Mata is invoked as a folk healer.

Hadksha Mata: Mata ni Pachedi by Sanjay Chittara

Bahuchara Mata – The Goddess of Inclusivity and Power

Symbolism: Fertility, celibacy, gender identity, and self-control.
Iconography: Often shown riding a rooster, holding scriptures and weapons.
Role: A deeply significant goddess for the Hijra (transgender) community, Bahuchara Mata blesses those who transcend binary identities.
Why worshipped: She represents the right to agency and choice, and is venerated by communities seeking fertility, protection, or gender acceptance.

Bahuchar Mata in Mata ni Pachedi by Vasant Manubhai Chitara

Khodiyar Mata – The River Deity

Symbolism: Water, fertility, seasonal rhythms, and divine justice.
Iconography: She is commonly depicted riding a crocodile, which is her vahana.
Role: Worshipped especially in Saurashtra and Kutch, she is believed to bless rain, regulate water bodies, and ensure prosperity in agriculture.
Why worshipped: Farmers, pastoralists, and those affected by droughts revere her for water security and crop fertility.

Khodiyaar Mata’s Elegant Grace: Mata ni Pachedi by Sanjay Chittara

Momai Mata / Dashamaa – The Village Protector

Symbolism: Guardian of the poor, protector of livestock and children.
Iconography: Often shown seated, surrounded by devotees offering garlands, coconuts, and lamps.
Role: A folk deity from Kutch and north Gujarat, Momai Mata is invoked during village festivals and padyatras (devotional walks).
Why worshipped: Her followers seek protection for families, homes, and herds, and blessings for safe childbirth.

Momai Mata: Mata ni Pachedi by Sanjay Chittara

Visat Mata – The Ancestral Guardian

Symbolism: Ancestral memory, protection from curses and black magic.
Iconography: One of the oldest forms of the goddess in the region, shown in regal, majestic poses, holding ritual implements.
Role: Considered one of the foundational deities of the Vaghri community, she is believed to be the source of their craft and spiritual guidance.
Why worshipped: Visat Mata is deeply personal to artisan families, often honored at the beginning of artistic or spiritual work.

Visat Mata: Mata ni Pachedi by Sanjay Chittara

Composition in Mata ni Pachedi

The Goddess figure, often chosen based on the patron’s family tradition or community need, occupies the central shrine-like position on the textile. Surrounding her are:

Narrative Panels: Telling mythological stories, miracles, and tales of community devotion.
Devotees in Procession: Portraying village life, musical celebrations, and collective rituals.
Temple Architecture: Framing the central deity like a sanctum (garbhagriha), transforming the cloth into a mobile temple.

This layout not only makes the cloth a spiritual substitute for a temple but also serves an educational function, especially for illiterate communities, to understand their cultural stories visually.

Significance to the Vaghri Community

For the Vaghri, the practice of painting Mata ni Pachedi is not just artistic but ritualistic and intergenerational. Each deity holds a place in their spiritual ecosystem, often linked to historical experiences of exclusion, resilience, and hope.

By placing these divine figures on cloth, they reclaim cultural space—creating sacred realms that move with the people, empowering them through portable divinity.

Motifs and Symbolism in Mata ni Pachedi

Mata ni Pachedi is not just sacred cloth painting—it is visual storytelling interwoven with layers of symbolic meanings that reflect the ethos, spirituality, and daily life of its communities. Every motif, whether flora, fauna, or abstract form, is infused with intention and reverence.

Tree of Life

Symbolism: A universal motif symbolizing creation, fertility, nourishment, and cosmic connection.
Placement: Often appears near the deity, anchoring the entire composition.
Interpretation: It reflects the goddess’s role as the source of life, nurturing all beings. It may also signify genealogical lineage and spiritual growth for the artisan's family or the patron.

Animal Motifs

These animals are not decorative; they embody divine virtues, ancestral wisdom, and mythological references:

Peacock: Beauty, grace, and divine love. Associated with Saraswati and Kartikeya, it signifies purity and artistic expression.
Tiger: Power, protection, and the warrior spirit—often linked with Durga as her vahana.
Elephant: Wisdom, strength, and sovereignty. A nod to Ganesha’s blessings, symbolizing the removal of obstacles.
Parrot: Devotion, communication, and companionship—often portrayed as messengers between the devotee and the divine.

Musical Instruments

Drums (Nagara, Dhol): Call to worship and celebration; signify awakening of the spiritual senses.
Conch (Shankha): Sound of creation; symbolizes auspicious beginnings and protection.
Bells (Ghanta): Invite the divine and dispel negative energies.
These motifs also reflect the ritual performances that accompany the worship of the Mother Goddess during festivals.

Floral Patterns

Lotus: A key motif in Indian iconography, it signifies purity, spiritual rebirth, and detachment.
Other Flowers: Jasmine, hibiscus, and marigold often appear—each used in actual ritual offerings, thus bridging the textile and ritual space.

Geometric Borders

Function: They frame the narrative, akin to temple architecture’s prakaras (enclosures).
Meaning: Represent order, sacred boundaries, and transition zones between the physical and metaphysical.
These borders echo the temple sanctum logic, with the Goddess at the core and stories unfolding in successive peripheries.

Color Palette and Natural Dyes in Mata ni Pachedi

The traditional tricolor palette of Mata ni Pachedi is minimal but powerful, rooted in ritual symbolism and natural dyeing traditions that are ecologically harmonious and spiritually significant.

Red (Maroon)

Symbolism: Life force (Shakti), fertility, menstruation, and divine feminine power.
Source: Extracted from alizarin (madder root), fixed with alum and tamarind seed powder.
Usage: Highlights the aura or adornment of the goddess, sacred offerings, and ceremonial objects.

Black

Symbolism: Protection, mystery, and absorption of evil energies.
Source: Produced by fermenting iron rust, jaggery (molasses), and tamarind seed powder over several days.
Usage: Primarily for outlining and defining the intricate forms and deities—a grounding element.

White

Symbolism: Purity, simplicity, the spiritual plane, and the sacred canvas itself.
Source: The natural color of untreated cotton, symbolizing the unmanifest divine energy that holds the painted universe.

Contemporary Additions (Extended Palette)

As the art form evolves, contemporary Chitara artisans are incorporating expanded palettes using natural plant-based materials:

🟡 Yellow: Derived from turmeric (haldi).

Symbolism: Knowledge, healing, and sanctity.

🟢 Green: Obtained from henna (mehndi) or through a mixture of pomegranate rind and indigo.

Symbolism: Nature, harmony, and life cycles.

🔵 Blue: Sourced from indigo leaves.

Symbolism: Stability, peace, and spiritual depth—often connected to cosmic elements or the night sky.

These natural dyes honor environmental sustainability and preserve traditional knowledge systems of indigenous dyeing.

Gender Roles in the Creation Process

Mata ni Pachedi is deeply embedded in family-based artisanal traditions, where gender roles are organically structured—not hierarchically, but harmoniously—to ensure skill transmission and collective creativity.

Men – The Primary Painters

Role: Drawing and painting the narrative structure with bamboo kalams (pens).
Training: Passed from father to son through apprenticeship, often starting in childhood.
Skills: Requires mastery in composition, proportion, mythological storytelling, and iconography.
Sacred Practice: Painting is often done after ritual fasting or purification, highlighting the sacredness of the task.

Women – The Nurturers of the Craft

Role: Assist in fabric washing, soaking, dyeing, preparing mordants, and sometimes filling in background colors.
Festival Season: Their participation increases during Navratri and annual fairs, when demand for painted cloths surges.
Cultural Role: Women also preserve oral traditions, narrating the stories of goddesses while engaging with the textile—making the process immersive and performative.

Children – The Heirs of Tradition

Initiation: Children begin by helping with simple tasks like soaking fabric or grinding natural dyes.
Skill Building: Over time, they graduate to color-filling, sketching, and eventually full compositions.
Educational Role: The art form becomes a living curriculum, integrating mythology, nature, ritual, and technique.
Contemporary Relevance and Preservation Efforts

In recent years, Mata ni Pachedi has garnered national and international attention:

Geographical Indication (GI) Tag: In April 2023, the art form received a GI tag, recognizing its unique cultural and regional identity.
Educational Initiatives: Institutions like the National Institute of Design (NID) and Ahmedabad University have conducted workshops and exhibitions to promote the art.
Digital Platforms: Online marketplaces and art platforms such as MeMeraki have provided artisans with broader exposure and sales opportunities.

Despite these efforts, challenges persist, including the dwindling number of skilled artisans and the encroachment of synthetic dyes and mass production techniques. Continued support and awareness are crucial for the art form's survival and growth.

Conclusion

Mata ni Pachedi stands as a vibrant testament to the Devipujak community's resilience, creativity, and devotion. Its intricate designs and profound symbolism offer insights into a rich cultural tapestry that has withstood the tests of time and adversity. As efforts continue to preserve and adapt this art form, Mata ni Pachedi remains not only a sacred textile but also a living narrative of faith and identity.

References