Pichwai paintings of Nathdwara represent a profound confluence of art, devotion, and philosophy, embodying what may be termed theophanic art, a visual medium through which the formless divine manifests into perceptible form. Rooted in the temple traditions of Shrinathji in Nathdwara, Rajasthan, these intricate textile paintings function not merely as decorative backdrops but as sacred visual narratives that translate metaphysical concepts into tangible expression. Emerging within the Vaishnavite Pushtimarg tradition, Pichwai art reflects a deeply symbolic engagement with divinity, where motifs, colours, and compositions correspond to theological doctrines, seasonal rituals, and devotional practices. This study situates Pichwai painting within the framework of geographical indications, examining how its uniqueness satisfies the statutory definition under Section 2(1)(e) of the Geographical Indications of Goods (Registration and Protection) Act, 1999, which requires a demonstrable link between the quality, reputation, or other characteristics of the goods and their geographical origin, arising from the interplay of geographical setting, artisanal skill, and inherited cultural knowledge. The art form’s evolution from a temple-centric ritual object to a globally recognized cultural commodity highlights broader transformations in the relationship between heritage and intellectual property in the Global South. At the same time, increasing commercialization, imitation, and declining intergenerational transmission pose significant challenges to its authenticity and sustainability. By analysing Pichwai through both cultural and legal lenses, this research paper underscores the importance of protecting not only the tangible aspects of such art forms but also the intangible traditions and knowledge systems that sustain them. It ultimately positions Pichwai painting as a living embodiment of India’s spiritual and artistic heritage, requiring balanced preservation within contemporary global markets.