Ganjifa is a traditional Indian card game that also serves as an art form deeply rooted in India’s cultural and historical heritage. The origins of Ganjifa cards can be traced back to the 15th century in Persia (modern-day Iran), from where they were introduced to India during the Mughal period. Over time, Ganjifa evolved into a uniquely Indian art form, blending elements of indigenous culture with influences from Persian and Mughal traditions.

Mughal Legacy

Under the patronage of the Mughal rulers, Ganjifa evolved into a highly sophisticated art form, embodying the opulence, creativity, and cultural diversity that defined the Mughal Empire. It was introduced to India by Babur, the first Mughal emperor, in the early 16th century. Ain-i-Akbari, a 16th-century document written by Abu’l-Fazl, a close advisor and chronicler to Emperor Akbar, provides one of the earliest and most detailed references to Ganjifa in India. As Ganjifa spread beyond the Mughal court, it began to integrate with local Indian cultures, leading to the development of regional versions of the game. These regional versions often featured cards with scenes from Hindu epics like the Ramayana and Mahabharata. A traditional Mughal Ganjifa set, consisting of 96 cards divided into 8 suits with symbolic names like Taj, Sarai, Chang, and Shamsher, became a canvas for the intricate art of miniature painting. Each suit contained 12 cards—including two court cards, the ‘shah’ (king) and ‘wazir’ (minister), along with 10 numeral cards. The elaborate designs on the cards extended their influence beyond the game, inspiring other artistic expressions such as manuscript illumination, textiles, and ceramics.

Dashavatara Ganjifa

One of the most popular variations of Indian Ganjifa is Dashavatara Ganjifa. The set consists of 120 cards, divided into 10 suits, each representing one of Vishnu’s ten avatars.

Matsya suit: Vishnu’s first avatar, Matsya, is beautifully illustrated in this suit, capturing the essence of his divine transformation into a fish. It depicts a four-armed, blue deity emerging from a fish’s mouth, with the suit symbol, a fish, elegantly integrated into the design. Sometimes this particular suit features five intricately painted fish. 

Kurma Suit:  Depicting Vishnu’s second avatar, this card illustrates him as a tortoise supporting Mount Mandara in the ocean, symbolizing stability and endurance.

Varaha Suit: This suit powerfully illustrates Vishnu’s third avatar as a boar, emphasizing his cosmic role in rescuing the Earth and symbolizing divine protection.

Narsimha Suit: It portrays one of Vishnu’s most dramatic avatars, as a half-man, half-lion, tearing apart the demon king Hiranyakashipu emphasizing divine justice and protection with the fierce.

Vamana Suit: It represents Vishnu’s fifth avatar as a dwarf Brahmin. The cards depict Vamana with a blue form and an umbrella, symbolizing his role in restoring cosmic balance.

Parshurama Suit: It portrays Vishnu’s sixth incarnation as a warrior-sage, wielding his divine axe to confront the tyrant Karthaveerya Arjuna, symbolizing justice and righteousness.

Rama Suit:  It symbolizes Vishnu’s seventh avatar as Rama, the ideal king. The cards typically depict Rama with his bow, often in battle with Ravana, emphasizing his role as a righteous warrior.

Krishna Suit:  Krishna Suit celebrates the eighth avatar of Vishnu in various forms, including playing the flute and guiding Arjuna, highlighting Krishna’s divine character.

Buddha Suit: Vishnu’s ninth avatar is honored in this suit, symbolizing enlightenment and wisdom, with symbols like a plough, cow, or lotuses reflecting his spiritual significance. 

Kalki Suit: It portrays Vishnu’s final avatar as a warrior on a white horse, sword in hand, poised to restore righteousness at the end of the age, embodying Kalki as the ultimate savior.

The Craftsmanship of Ganjifa Cards

Ganjifa cards undergo a meticulous process requiring skill and artistic talent. Card shapes were either round or rectangular. Ganjifa cards were crafted from various materials depending on the region and intended audience. For luxury sets, especially in the emperor’s court, materials like ivory and tortoiseshell were used. For the general populace, cards were made from wood, palm leaves, cloth, or paper. The designs on these cards are miniature works depicting figures, symbols, and themes from mythology and folklore. In ancient times, artisans used plant-based dyes and occasionally incorporated precious metals like gold and silver.

Sawantwadi Ganjifa

Sawantwadi Ganjifa stands as a treasured heritage of the Sawantwadi region, Maharashtra. This ancient card game was introduced to Maharashtra in the 17th century under the reign of Chhatrapati Shivaji Maharaj. The Sawantwadi deck comprised 96 cards. Each card is named after a deity and organized into eight suits, with twelve cards per suit, each embellished with unique and elaborate motifs. It embodies a rich blend of local folk art and the refined influences of Deccan artistry. Its creation is carried out by skilled artisans and families who have honed their craft over generations in Sawantwadi. In the realm of preserving and popularizing Sawantwadi Ganjifa, Rani Satvashiladevi Bhonsle and her husband, Raja Bahadur Shivaram, have played a pivotal role. Their efforts have been instrumental in ensuring that this exquisite tradition not only endures but continues to captivate and inspire.

To Conclude,

Ganjifa cards, a traditional Indian art form, are known by various names in different regions: Ganjappa in the villages of Odisha, Mysore Ganjifa in Mysore, and Sawantwadi Ganjifa in Sawantwadi. These exquisite cards can be found in many Indian museums like the Salar Jung Museum, the National Museum, and the Jaganmohan Palace. The Ganjam Museum in Srirangapatna is particularly renowned for its extensive Ganjifa card collection. Dr. Bhau Daji Lad Museum in Mumbai, one of the oldest museums in India, showcases a notable set of Dashavatara Ganjifa cards. Beyond India, Indian and Persian Ganjifa cards have also found a place in the prestigious British Museum.

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By Shrushti Patel