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In the beginning, the paintings intended for placement behind the idol featured a cutout, providing a space for the idol. This arrangement kept the center empty, reserved for the deity. The concept of chitraseva gradually led to incorporating the deity onto the canvas, a central aspect of Srinathji’s worship.
These pichwais made great use of gold and silver foil upon red/black muslin or silk cloth/material. There are a few pichwais made with lace or machine-made which are present in a few archives of Indian museums from Europe which are important to mention.
Painted pichwais used mineral pigments such as metallic shades from pure gold and silver, and organic shades derived naturally such as red lac from trees and deep yellow from a formula of cow urine called goguli.
The main point of all Pichwais is always of Krishna/Srinathji and his various swaroops who always are showcased in a black colour with his hands raising the Mount Govardhan. The background has an amalgamation of gopis (milkmaids), forests or lush flora and fauna, peacocks, cows and lush background, gods flying about in their vimaan or vahana
The section behind the idol is often left empty or cut out, occasionally featuring a grand tree, like the ‘Kadamba’, evoking Krishna’s presence in Hinayana Buddhist iconography.