Introduction

Play is a basic element of human life and the playing of games is found in every society in the world. A traditional game can be itself a rich and authentic expression of a culture, while also giving rise to artefacts of great diversity and beauty.

In daily life, at all levels of society from village to urban society, the playing of traditional games and contests constituted for both sexes. Playing games of increasing complexity from youth into maturity served as a diversion of pastime and also a mode of learning.

One of India's numerous traditional games is Ganjifa Playing Cards. Ganjifa or Ganjapha is a generic word signifying Playing Cards or Card Games in India, Nepal, Iran, some Arab Countries, and Turkey. The word Ganjifa is obscure. “Gunj” is a Persian word, meaning treasure, treasury or minted money. The Ganjifa game was a popular pastime of ancient India.

Ganjifa cards are of historical importance besides holding aesthetic and artistic value. They serve a social purpose by bringing people together, providing entertainment and by popularising socio-cultural themes. This unique fine art form blends the exquisite art of painting and craft. At the same time, as a game, it grew in popularity during the 18 th and 19 th centuries among a cross-section of people. It was quite common to find people playing a game of ganjifa in temple court-yards, homes, market places and within the precincts of the royal court. It served as a form of entertainment and created an atmosphere of devotion, as the players chanted the names of their favourite deities while dealing the cards.

Origin- Among favorite pastimes of ancient India, the game of cards known as Ganjifa found much favour with Kings, courtiers and general masses. Babur, the first Mughul ruler sent a gift of playing cards to a friend and by the 16^th century many different types of Ganjifa games had already developed in India

What are Ganjifa Playing Cards- These cards are also known as the Pattachitra playing cards. These are traditional playing cards which are round shaped but sometimes rectangular in shape with lacquered backs. They usually measured from two to twelve centimeters in diameter. Ganjifa Cards were, and are, extremely colourful and painted in such a wide variety as to take one’s breath away. Artists have preserved the traditional art in the cards and also the main Hindu religious symbolism. The artwork on a Ganjifa card is so intricate and artistic; it is no surprise that it is an art form by itself.

It was a popular source of entertainment in India with kings, courtiers and the common masses. Even today, old people at Puri and Maharasthra play this game since it is believed that by repeating the name of God, sins are remitted. Royal families in ancient India used to play Ganjifa for recreation and pleasure. The game is played with 24 to 600 cards depending upon the type of play adopted. Ramayan and Mahabharath theme is chosen for cards play. During the Moghul rule, Ganjifa received new dimensions by adding motifs of Sword, Birds, Leaves, Animals, Kings, Commandants, Vazirs, Gulams, Meer etc.

Theme- The themes portrayed in the Ganjifa packs range from the social to religious ones. The choice of subjects has always reflected the socio-religious trend in society. Apart from being a part of traditional games, these cards are fascinating objects in themselves – they incorporate aspects of court art, courtly culture and art, and Hindu religious symbolism. Two sets of Ganjifa are popular in India – the Mughal Ganjifa and the Hinduised Dasavatara Ganjifa set. A typical deck of Ganjifa is hand-painted and extremely colorful. Each suit represents a different incarnation of Lord Krishna. Extended decks of twelve or up to twenty suits saw the edition of Ganesha and further divinities.

Material Used- The traditional Ganjifa cards are made using vegetable and mineral colours, each single card being a work of art. The materials used to make the cards were usually paper pulp, leaves, fiber and sea. The cards are packed in painted boxes with sliding lids that are as beautifully made as the cards inside.

Process- Making the Ganjifa cards involves a tedious process, often involving all the members of the artists' family, with individual responsibility depending upon age and ability.

Price- The price of Ganjifa cards are Rs 2,000- 5,000. The price range is for the different theme cards, the number of cards and completely depends on the intricacy of the artwork.

WHY ART FORMS DIE
By Paul Mellender

Dear Arts Journal:

It is becoming very clear, in many different ways, the statement "art is dead" is true. This "art" I am limiting to painting and sculpture. I have denied it for a long time, but after some scrutiny I have begun to believe it is so. A statement of this sort is dependent on criteria. A living and dead state of art must be clarified to declare and believe something so unpleasant. In a brief definition, an art is the side effect of an attempt to manifest something. The first subject drew an owl (the actual object) the next drew the picture of the owl; the third drew the picture of the picture, and so on. When the last person drew what they saw it had become a cat. When applied to art, and attempts to make art this indicates- though one may be attempting to make art, they cannot for it is missing the original intention, it will only and ever be derivative of an invisible purpose.

An art can die truly, and an art can die in form. When an art truly dies, its purpose has been achieved. One of the reasons an art happens, is the artist is translating from a non-form to a form; imagination to reality.When the translation is complete it is unnecessary to continue, it would become ritual to do so. The artist is attempting to kill the form, very literally, to overcome the paint, stone, or whatever, and breathe life into his monster. This can take generations and ages, but will eventually occur, or it will be discovered the nature of the idea is flawed in origin. In either case, the idea ends. When its purpose has been achieved or has been found wanting, it does not necessarily find acceptance in populations who have come to venerate the tertiary idea: art.

When I write painting and sculpture have died, I do not mean the thing behind them has ceased. Unlike the art of memory, however, these two have hit a point of disease that threatens the thing behind them. The name of art is lost both in its intention, and side effects. When art periodicals, books and articles appear, they do not offer help in the idioms of art, nor do they offer information. They are usually updates on how business is going and how to turn art forms into business. They are flattering, self-congratulatory, romantic, excited, and pretentious, but never to any good point. As we become as formed but hollow, as our arts, we lose all those things most vital. The death of intentions, but the survival of form is to become a zombie; it is to be the tool for the black arts, business and politics.

So how is art dead? When the things that initiate art, though ever recurring, are systematically, and deceptively snuffed out, their evidences and potency are brought to an end. The triggers of art are a continuum, as opposed to derivation. If that continuum is stopped (though other things parade under the same name) it is death. For though much of the world is the same, and the physics of the world appears stable, we are far beyond whatever environment and circumstance allowed the first artist, if his long continuous mind stops, we will have met our limit.

FINAL PROPOSAL

Theme- What are Ganjifa playing cards and how has the visual appearance of these cards developed over a period of time?

Question 1- What is the history of Ganjifa and how has it evolved in recent times?

Question 2- What is the look and feel (motifs, graphics, colour, illustration style and technique) of Ganjifa playing cards?

Question 3- Do these cards have potential educative values?

Question 4- Is the art of Ganjifa a living or dying tradition?

Swot Analysis

Strengths

- Educative values

- Religious Values

- Traditional Art form of playing cards

- Source of entertainment

- Timepass

- Traditional Knowedge

- Good artwork

Weakness

- Gambling tag

- Difficult rules

- Confusing

- Expensive

- Cards, don’t last long

- Hardwork

- Experience required

Opportunities

- Awareness among the people

- Preserving the traditional art form

- Awards

Threats

- Dying art form

- UNO, Set with Four colour suit

RAGHURAJPUR

Raghurajpur, a small village in Puri district, occupies a unique place in the cultural map of India. It is famous for its master Pattachitra painters and as the birthplace of legendary Odissi dancer Kelucharan Mohapatra. The village is inhabited by artisans producing sheer poetry on pieces of treated cloth, dried palm leaf or paper, Ganjifa Cards are practised here. The outer walls of most of the houses are wonderfully decorated with mural paintings of mythological scenes from the Ramayan and the Mahabharat. Entrance of the Village Temple at Raghurajpur View of Coconut Trees This coconut-palm shaded village is quite different from other villages of the State. It has its own identity. What is unusual is the number of outsiders including foreigners visiting the village round the year. These people don't come here to see a typical Orissan village from close quarters but to see and enjoy the rich traditions of Orissan arts and crafts at one place. The primary art of this village is Pattachitra, but apart from this, the village has a community of artisans, who produce different varieties of handicrafts items such as palm leaf engravings, Ganjifa playing cards stone carvings, papier mache toys and masks, wood carvings, wooden toys, cowdung toys and tusser paintings. Perhaps nowhere else in India one finds such a congregation of so many arts at one place. This is also the only village in India, where each family is engaged in one craft or another. Some of them are winners of National Awards. One comes across the best tradition of Orissan paintings and some of the finest pieces of work in this village. “AT Raghurajpur, every villager is an artist and every house is an artist’s studio.” Here, art is not just a profession or passion but it is a way of life. Painting on House wall View of the Village Painting on House wall Indian National Trust for Art and Cultural Heritage (INTACH) selected this village to revive the ancient wall paintings of Orissa and to give this village its rightful place both in the cultural and tourist maps of the country. It was declared as a heritage village by INTACH in 2000 and became a major rural tourist destination of Orissa. It attracts thousands of domestic and foreign tourists. It is the first village to be developed as part of the rural tourism promotion project.

STRUCTURE OF THE PROPOSAL

Do a little contextual study of the area and then describe the area briefly but accurately.

One of India's numerous traditional games is Ganjifa Playing Cards. There are different interpretations of its origin. The word ganjifa makes its first appearance in India in 1527 in the dairy of Emperor Babur, but no further description is given, except that he sent Ganjifa to his friend in Sindh.

Ganjifa cards are circular and traditionally hand-made by local artisans. The precise style and arrangement of the decoration on any set is dependent on its artist. Artists involved in making Cards for the rich and wealthy had to use expensive materials. They used to craft on lac wafers, tortoise shells, ivory, engraved brass discs, mother of pearl and were decorated with precious stones and metals. Common man had Ganjifas to himself on leather, paper, stylographed palm leaves, fish scales and paper machie. Today the ganjifas are sold as a craft object.

Ganjifa signifies games related to playing cards and card games. Ganjifa today is taken over by the printed playing cards. The original Ganjifas displayed enthralling objects and showered the folk art painted by the artists. Artists have preserved the traditional art in the cards and also the main Hindu religious symbolism. Ganjifas are very beautifully packed in the sliding boxes which too are very artistically crafted. It found in some parts of India (Orissa, Maharashtra, Andhya Pradesh, M.P., Karnataka, West Bengal, etc). Basing on the peculiarty of the themes (Dasavatara cards, Ashtamalla Sara cards and Ramayana cards) we can identify 3 major regions-

- Raghurajpur near Puri district, Orissa

- Chikitigada- district of Ganjam, Orissa

- Paralakhemandi- district of Ganjam, Orissa

Play is a basic element of human life and the playing of games is found virtually every society in the world. A traditional game can be itself a rich and authentic expression of a culture, while also giving rise to artefacts of great diversity and beauty. In the last five thousand years, Indian Subcontinent has shown greater creativity than probably any other part of the world in the range and quality of its games, whether of chance or skill, and of its game-related artefacts. In daily life, at all levels of society from village to court, the playing of traditional games and contests constituted for both sexes a link between childhood and adulthood. Playing games from youth into maturity served not only as a pastime but in some cases, a mode of learning.

Ganjifa practically died out in its homeland when the orthodox Shah Abbas II of Persia (162-67) banned the game. In India, however, the game and its cards spread over most of the country. Although initially played by Muslims, it was taken up enthusiastically by the Hindu population and the cards were adapted to suit their taste. Even today, in Orissa, cards are still being played, but elsewhere it has been entirely superseded by games with the standard British pack.

Why is this area important to you?

I am always inclined towards studying the traditional art forms of India, their illustration style, the technique, colour, etc. The area contains artists who have managed to preserve the traditional art form. It will help me in understanding the art and how can these art forms help us in our future.

c What is the purpose of your research? Why is it useful?

The purpose of this research is to create awareness among the youth of India about the traditional form of playing cards. The research will help in understanding the history of traditional playing cards. It will encourage the artists of Ganjifa and promote the art as well.

d. What are the key resources you will use for your contextual study in terms of books, exhibitions, literature, visual material, etc.

Pankaja Sethi- graduate from NIFT Delhi

Book- “Ganjifa: the playing cards of India”-Leyden,Rudolf Von

Book- “Traditional art of India and cultural change”

Book- “Traditional painting of Orissa”

Book- “Ain-i-Akbari” (Abul Fazl’s biography)

Book- “Shrittwanidhi”

Card Collector- Banamali

Card Collector- Bijaya Kumar Mahopatra

Card Collector- Subhas Chitari

Cards Painter- Prakash Chandra Mahpatra

Cards Painter- Siatal Fouzdar IGNCA, New Delhi

Dastakar’s Exhibition at IGNCA, New Delhi

Dr. Pramila Lochan- IGNCA

National Museum, New Delhi

e. What is the overview question your research is going to answer? What are the smaller questions?

THEME
What is Ganjifa and how has the visual appearance of the cards developed over a period of time?

QUESTIONS
1- What is the history of Ganjifa and how has it evolved in recent times?
2- What is the look and feel (motifs, graphics, colour, illustration style and technique)of Ganjifa playing cards?
3- How is Ganjifa different from the other playing cards?
4- Do these cards have potential educational values?
5- Does this traditional art form influence /interest the youth (15- 25 years) of India?

For each research question identify the method by which you will collect data. Give details of data, questions, etc. E.g If you are going to interview students – how many would you interview? What are your questions?

Ques 1- Literature Review, books, case studies, interviewing the card makers, interviewing the scholars and the people of Orissa who are related to the art form

Ques 2- Interviewing the artists and their families, interviewing the scholars, case studies, reading books, getting visual material

Ques 3- Interviewing the youth, questionnaire for youth and people of Orissa, Interviewing (audio) the scholars, reading books, case studies

Ques 4- Interviewing the youth, case studies, questionnaire for youth and people of Orissa, reading books, literature review

PROPOSAL

THEME

What is Ganjifa and how has the visual appearance of the cards developed over a period of time?

QUESTIONS

1- What is the history of Ganjifa and how has it evolved in recent times?
2- What is the look and feel (motifs, graphics, colour, illustration style and technique)of Ganjifa playing cards?
3- How is Ganjifa different from the other playing cards?
4- Do these cards have potential educational values?
5- Does this traditional art form influence /interest the youth (15- 25 years) of India?

PURPOSE OF RESEARCH

To study the art form in order to promote it and use it in modern form. To create awareness among the youth of India.

GANJIFA

Ganjifa, or Ganjapha, is a traditional playing card game which originated in Persia and became popular in India under the Mughal emperors in the 16th century.

DESCRIPTION

The name "Ganjifa" comes from the Persian word ganjifeh (گنجفه), meaning playing card. The first known reference is in an early-16th century biography of Bâbur, the founder of the Mughal dynasty. The game first became popular at court, in the form of lavish sets of precious stone-inlaid ivory or tortoise shell (darbar kalam). It later spread to the general public, whereupon cheaper sets (bazâr kalam) would be made from materials such as wood, palm leaf, or pasteboard.

Ganjifa cards are circular and traditionally hand-made by local artisans. The suits are composed of twelve subjects on coloured backgrounds, with pip cards running from 1 to 10, and two court cards, one of a minister or counselor, the other of a king. The precise style and arrangement of the decoration on any set is dependent on its artist. The designs of the cards of Dashavatara Ganjifa use motifs from the ten avatars of Vishnu.

Among the popular pastimes of Ancient India, the Game of Cards (Ganjifa) found as much favour with the Kings, Courtiers, and general masses as the Pachisi (Dice) and Chess. While the popularity of Chess continues unabated to this day, the Ganjifa Cards and their Games have passed into the oblivion.

We do not know whether the card games were played for amusements or speculation but the Indian Ganjifa Cards were, and are, extremely colourful and painted in such a wide variety as to take one’s breath away. Artists have preserved the traditional art in the cards and also the main Hindu religious symbolism. Ganjifas are very beautifully packed in the sliding boxes which too are very artistically crafted.


ORIGIN

Many theories have been put forward concerning the origin of Playing Cards, and many countries have claimed to be their birthplace. The general assumption is Moghul Emperors brought the cards to India early in the sixteenth century. Once established, the cards spread to most regions of India either in the original form known as Moghul Ganjifa, or in their slightly later Hindu form; ten suits of twelve cards each, known as Dashavatara Ganjifa.

It is not known when and where the ten-suited Dashavatara Ganjifa originated, but a very good guess would be the Deccan in the 17th Century. Dashavatara Ganjifa Cards with Avataras as incarnates of Shree Vishnu, comprising 120 cards, was the most popular card game in Rajasthan, Bengal, Nepal, Madhya Pradesh, Karnataka and Maharashtra. The ten incarnations of Vishnu as depicted in almost all Dashavatara Ganjifa Cards are shown in the following order.

In June 1527, Babar, the first Moghul Ruler, sent Ganjifa to his friend in Sindh. This was probably the Eight-Suited pack of 96 Cards. By the 16th Century, several different types of Ganjifa Games had already been developed in India. A neatly tabulated description for twelve-suited and an eight-suited packs with all details of the cards and suit signs are provided by Abul Faz’l, the Vizier and Biographer of King Akbar in the book, Ain-i-Akbari.

In Maharashtra and Orissa, Ganjifa was a widespread Brahmin pastime. Old people are still seen playing Dashavatara Ganjifa near Puri Temples, mainly with 16-suited 192 card decks. A later Brahmin rationalization of this pursuit was notion that the performance of the game is pleasing to the God.