We might be more familiar with modern Western-style four-suited playing cards, but China, India and Persia has a long history of cards (or ‘taash' or ‘ganjifa') which used to come in a variety of designs, shapes, decks and patterns.
One such example is the Dashavatar Taash (playing cards depicting 10 incarnations of Lord Vishnu), a rare art form and an important part of the rich cultural heritage of the temple town of Bishnupur in Bengal's Bankura district.
Bidyut Fouzdar, belonging to a family which is the only one still making these cards and keeping the 400-year-old tradition alive, was in Delhi for a government-organized crafts fair in 2013, and I had the opportunity to acquire a set of cards, hand-painted in bright colours and bearing religious symbols and deities. The cards are being made for generations in the Fouzdar family of Bishnupur, a town known for its terracotta temples, Baluchari saree and classical music of Bishnupur gharana.
It is said that the Dashavatar card game, governed by a complicated set of rules which only a handful of people still have the knowledge of, was introduced in the royal court of Bishnupur in late 16th century, during the reign of Malla King Veer Hambir, who was a patron of the arts and culture. The game involved five players and the cards used to be and are still made in 12 suits of 10 cards each. The 10 avatars are painted on the circular cards with corresponding symbols – Matsya (fish), Kurma (turtle), Baraha (shell), Nrisingha (chakra), Baman (water pot), Parasuram (axe), Shri Ram (bow and arrow), Balaram (plough), Buddha/Jagannatha (lotus) and Kalki (sword/horse).
The painting style, as seen in the Nrisingha (the avatar in a man-lion form, killing the demon Hiranyakashipu) card here, has similarities with the patachitra art as well as some of the Durga idols in traditional zamindar family pujas in Bengal in which the Devi's vahana (carrier) lion has a face like a horse. Interestingly, both Balaram and Buddha are included among the incarnations here. Generally, it is either of the two. The Buddha/Jagannatha card may be a pointer to links between Buddhist and Jagannatha traditions. (Many scholars argue that such a link exists, though there are counter-points as well as (for further reading; https://medium.com/@ashishsarangi/lord-jagannath-the-buddhist-connection-a53135a3dde3)
The artists use layers of old pieces of cloth which are folded and pasted using glue made from tamarind seeds. After drying, a base colour is applied. They are flattened out with a stone and cards are cut into round shapes. Vegetable colours are used for painting. On the reverse, a layer of lac and vermillion is applied. Apart from the cards, artists are now also making other decorative items using these motifs. The designs have been used in theme-based Durga Puja pandals too.
Dashavatar cards were also popular in Maharashtra and Odisha and the game is still played in some places in these states, it is said.
(Source: biswabangla.in and a few other websites)
One such example is the Dashavatar Taash (playing cards depicting 10 incarnations of Lord Vishnu), a rare art form and an important part of the rich cultural heritage of the temple town of Bishnupur in Bengal's Bankura district.
Bidyut Fouzdar, belonging to a family which is the only one still making these cards and keeping the 400-year-old tradition alive, was in Delhi for a government-organized crafts fair in 2013, and I had the opportunity to acquire a set of cards, hand-painted in bright colours and bearing religious symbols and deities. The cards are being made for generations in the Fouzdar family of Bishnupur, a town known for its terracotta temples, Baluchari saree and classical music of Bishnupur gharana.
It is said that the Dashavatar card game, governed by a complicated set of rules which only a handful of people still have the knowledge of, was introduced in the royal court of Bishnupur in late 16th century, during the reign of Malla King Veer Hambir, who was a patron of the arts and culture. The game involved five players and the cards used to be and are still made in 12 suits of 10 cards each. The 10 avatars are painted on the circular cards with corresponding symbols – Matsya (fish), Kurma (turtle), Baraha (shell), Nrisingha (chakra), Baman (water pot), Parasuram (axe), Shri Ram (bow and arrow), Balaram (plough), Buddha/Jagannatha (lotus) and Kalki (sword/horse).
The painting style, as seen in the Nrisingha (the avatar in a man-lion form, killing the demon Hiranyakashipu) card here, has similarities with the patachitra art as well as some of the Durga idols in traditional zamindar family pujas in Bengal in which the Devi's vahana (carrier) lion has a face like a horse. Interestingly, both Balaram and Buddha are included among the incarnations here. Generally, it is either of the two. The Buddha/Jagannatha card may be a pointer to links between Buddhist and Jagannatha traditions. (Many scholars argue that such a link exists, though there are counter-points as well as (for further reading; https://medium.com/@ashishsarangi/lord-jagannath-the-buddhist-connection-a53135a3dde3)
The artists use layers of old pieces of cloth which are folded and pasted using glue made from tamarind seeds. After drying, a base colour is applied. They are flattened out with a stone and cards are cut into round shapes. Vegetable colours are used for painting. On the reverse, a layer of lac and vermillion is applied. Apart from the cards, artists are now also making other decorative items using these motifs. The designs have been used in theme-based Durga Puja pandals too.
Dashavatar cards were also popular in Maharashtra and Odisha and the game is still played in some places in these states, it is said.
(Source: biswabangla.in and a few other websites)
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