In his childhood, Om Chitara often returned home from school to find his father, Kiranbhai, and other family members engaged in the intricate processes of dyeing and coloring textiles within their home studio. These activities culminated in the creation of stunning artworks that were highly cherished. At just 10 years old, Om began learning this art form himself, and today, at the age of 22, he is a prominent figure in the preservation of the nearly vanishing art of Mata ni Pachhedi, a tradition passed down through nine generations of his family.
Mata ni Pachhedi, which translates to “Behind the Mother Goddess,” is a ritual textile that prominently features Goddess Durga. This art form, traditionally mastered by the Chitara community—historically known as Devipujaks—emerged over 300 years ago as a response to the community’s exclusion from certain temples. Predominantly based in and around Ahmedabad, this community has a rich history tied to the art.
Om explains that the evolution of this tradition has been shaped by various historical contexts: during periods of conflict and temple destruction, the textile served as a mobile form of worship; later, caste dynamics turned it into a means of spiritual expression for those barred from temple access.
Within their home in Ahmedabad’s Vasna area, the upper level serves as their creative workspace. “Our residence functions as both a home and a bastion for the preservation of Mata ni Pachhedi. Approximately 40 artisans collaborate within our community, guided by four senior craftsmen, including myself,” Om states.
The studio features unbleached fabrics drying in the sun, alongside earthen pots filled with organic dyes derived from indigo, henna, and wild turmeric. Using specialized bamboo pens akin to those in kalamkari art, they meticulously draw on the fabric.
“Historically, our art relied on deep red hues obtained from alum and tamarind seed paste, and black from iron rust fermented with jaggery and water. We have since broadened our color palette to incorporate natural elements,” Om notes.
His artistic journey began with sketches on paper before transitioning to fabric. Kiranbhai Chitara, Om’s father, received national recognition for his work in 2005. Recently, in 2023, Mata ni Pachhedi was awarded a Geographical Indication tag, and in 2025, another artist from the family, Bhanubhai Chitara, was honored with the Padma Shri.
Creating a 2×2-foot piece can take up to two and a half months. “The most labor-intensive part involves freehand drawing and detailing using sharp bamboo sticks, followed by multiple rounds of mordanting, boiling with madder root, and drying in the sun,” explains Om.
The final step involves boiling the fabric with Dhavdi flowers and alizarin to set the colors. The meticulous process allows little room for mistakes. “If any issues arise during washing, the entire artwork can be compromised; poor color results can ruin the piece; improper treatment can lead to color bleeding,” he warns.
Om is passionate about ensuring the survival of this art form. “If we do not take action, who will? This art could disappear entirely,” he asserts.
Though this craft is crucial for their livelihood, there is no consistent monthly output, as the timeline for each artwork depends on its dimensions. During the COVID-19 pandemic, when tourist attendance plummeted, the family partially relied on online sales to sustain themselves.
Ganga Kadakia, an artist and founder of Art Village in Karjat, has showcased Chitara’s works since meeting Kiran Chitara seven years ago. She introduced him to educational programs where students could learn about indigenous art forms and commissioned projects for interior design.
Mata ni Pachhedi is also referred to as Chandarvo and Dhoti. According to Om, this craft has served various functions throughout history. During times of displacement or temple destruction, the fabric could be easily transported and reassembled. Later, caste restrictions gave this cloth an additional significance, as those unable to enter temples would establish the Pachhedi in their homes, allowing them to pray within their communities. The stories associated with each Goddess further contributed to the preservation of cultural narratives.
Different goddesses are represented by their respective vehicles: Khodiyar Mata with a crocodile, Meladi Mata with a goat, and Shetrunji Maa, worshipped by Om’s community, depicted with an elephant. The colors chosen also hold significance; traditionally, Mata ni Pachhedi prominently featured red, black, and white—red signifying the Goddess, black for protection against evil, and white representing purity. Additional colors have been introduced as the craft has developed.
Om notes that villagers still purchase Chandarvo and Mata ni Pachhedi for worship, while hand-painted pieces are increasingly sought after as decorative art and gifts. The distinction between these two types of art is notable, with block-printed pieces taking around 15 days to complete, while hand-drawn works may require a year and a half or more. Block-printed items can fetch prices between ₹40,000 and ₹50,000, whereas larger hand-drawn pieces can sell for ₹4 to ₹4.5 lakh, contingent on the intricacy of the artwork. The family has also modernized their imagery, incorporating contemporary themes such as the Tree of Life into their pieces, while still preserving the fundamental visual language of the craft. While artificial intelligence and machines may replicate designs, Om emphasizes that they cannot easily reproduce the extensive knowledge embedded in the traditional techniques.
