Ganjifa

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Ganjifa, Ganjapa or Ganjapha, is a card game played across India. Typically, the Mughal Ganjifa consists of eight suits (known as thoka in Odisha and petika in Mysore) with 96 cards in total. Every suit is differentiated with different colours, and suit marks, the range and order of which may vary from region to region. There are many variations in the gameplay, number of suits and cards in each suit, suit signs, iconography, and the number of players in this game.

In the eight-suited Mughal Ganjifa set, each suit contains 12 cards with 2 court cards including shah, raja or mir (king), and wazir (minister), and 10 numeral cards. The numeral cards have different values in each of the two halves of the pack. They are represented by the corresponding number of suit marks (chinha). In four suits, the card sequence is mir, wazir, ten, nine, and so on, with the ace being the lowest. In the other four suits, the sequence starts with mir, wazir, followed by one, two, with 10 being the lowest.

The Description of the eight suits:
Although many variations exist in the game, the following is the description of the most widely known Ganjifa. This includes the bishbar bheda- taj, safed, shamsher, ghulam and kambar bheda- chang, curkh, barat, qimash.

Taj is translated as the crown. It is represented by a crown, the shape and size of which varies across regions in India.
Safed, meaning white or silver, stands for a silver coin. The suit was also known as tanka, sekke, dirham, or rupa, varying with the currency of the region. The suit sign is generally a white or silver disc with a red or gold rim. The suit is also identified with the moon, and called mahtab or chandra.
Shamshed with the suit sign of sword or sabre, signified the palace guard of the imperial court.
Ghulam or gulam translated as a slave or servant, represents the imperial household of courtiers, servants, and entertainers. The sign of the suit is a human figure, sometimes depicting lively scenes with the number of people representing the numeral card.
Chang is a string instrument resembling a small harp. The suit represents the king’s music or royal entertainment.
Surkh- meaning red or gold, originally represented a gold coin. It is known by various names such as ashrafi, zar-i-surkh, mohar and kanchan (gold). The suit is also sometimes identified with the sun (suraj, surya).
Barat is a suit sign representing a document, farman, or hundi (cheque, draft) and depicts the chancellery (daftar) of the imperial court.
Qimash is a Persian word used to describe objects, textiles, merchandise, and household items or furniture. The suit represents the palace store or chamberlain's office and is depicted with an oval shape, probably a textile or a good.

Gameplay

The game of Ganjifa is a trick-taking game. The number of players varies from 2 to 4, and each game lasts for about 3 rounds, although variations in number of players exist across the subcontinent. The objective of the game is to win as many rounds as possible.

Sometimes, before the start of the game, a trump suit is declared, that triumphs over every high card of other suits. It starts with a chance, where the player with a high card number takes the entire card set, followed by regular gameplay. Each round is played in a counterclockwise direction.

At the outset, players start with an equal number of cards. During a round, players take turns playing a card from their hand to the middle of the playing area, with others following the suit if possible in cyclic rotation. If a player lacks a card of the same suit, they may play a lower card from a different suit. The highest cards, consistent across variations of the game, are the two court cards in each suit. Additionally, in half the suits the numeral cards rank in one order, with the ace being the lowest, whereas in the other half of suits, the 10 is the lowest.

The trick is won by the player with the highest card of the suit played. The payer who won then picks up the cards and places them face down beside himself. They are now out of play. In the end, the number of cards won by each player in tricks, determine the winner of the game.

One rule of the game is that a player who holds a hukm, the highest card of any suit, other than those already played, is required to play it and thus win the trick as soon as that suit comes up. If the player fails to do so, the hukm loses its power, is becomes the lowest card of the suit.

Therefore it is beneficial for a player to remember all the symbols and cards played. One of the greatest benefits is that besides a memory test, the game provides a good retention of traditional knowledge.

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Shuffling through Centuries: Exploring the History of Ganjifa

Ganjifa, a game that has captivated players across India, is known for its hand-painted cards. The word Ganjifa is derived from the Persian word ‘ganj', meaning treasure, treasury, or hoard. Also known as Ganjapa or Ganjapha, the game holds significant cultural importance throughout India.

Ganjifa depicting the Varaha avatar of Vishnu, Maharashtra, 19th century CE

Ganjifa depicting Vishnu and Lakshmi, Deccan, 19th century CE

Ganjifa cards are traditionally round, although rectangular Ganjifa are also found. The Ganjifa typically consist of eight suits, each comprising two court cards (the King and the Minister) and ten numeral cards.

King in the ganjifa set, Rajasthan, 19th century

Minister in the ganjifa set, Rajasthan, 19th century

Number one in the ganjifa set, Rajasthan, 19th century

Number five in the ganjifa set, Rajasthan, 19th century

The gameplay of Ganjifa is largely consistent across different regions in India. The number of players varies from two to four, and each game lasts for about three rounds. The objective is to win as many rounds as possible. At the outset, players receive an equal number of cards.

During a round, players take turns playing a card from their hand, with others following the suit if possible. If a player lacks a card of the same suit, they may play a lower card from a different suit. The trick is won by the player with the highest card of the suit played.

The creation of Ganjifa is a significant indigenous craft of India where skilled artisans, known as chitrakars, meticulously craft and hand-paint these unique cards. Preserving ancient traditions, the craftsmen also add their personal style to each card, making every Ganjifa unique. The cards are crafted from various materials such as ivory, shell, brass, wood, leaves, and stiffened cloth or pasteboard. They are stored in boxes made of wood papier-mâché, reflecting themes consistent with the cards themselves.

Craftsmen making Ganjifa cards, Sawantwadi region, Maharashtra
Image source: Wikimedia Commons

Historians suggest that the game likely made its way to the Indian subcontinent during the Mughal era, finding favour in the courts of Mughal rulers. References to the game can be found in historical works such as Baburnama, the memoir of Babur, the founder of the Mughal empire, and Humayunnama, detailing the reign of Emperor Humayun.

Additionally, the Ain-i-Akbari, written by Abul Fazl, the court chronicler of Emperor Akbar, delves into the diverse array of games favoured by the emperor including Ganjifa or Ganjafeh. These Mughal Ganjifa sets were circular in shape and were crafted from materials such as ivory or shell. The game was played with 96 cards grouped into eight suits, with twelve cards in each suit. Each suit contained a Shah (King) card, a Wazir (Minister) card, and numeral cards from one to ten, all decorated with imagery reflecting the splendour of the imperial court.

King in the Barat suit, Mughal Ganjifa set, 19th century CE

They were divided into two categories: the first four suits called bishbar bheda or powerful suits and the remaining four suits were called kambar bheda or weak suits. Ahli Shirazi, a poet from the 16th century, detailed the names of these suits, including gulam (servant), taj (crown), shamsher (sabre), and tanka (silver coin) in the bishbar bheda, and barat (cheque or draft), qimash (material wealth), ashrafi (red or gold coin), and chang (a small harp) in the kambar bheda.

Number Seven of the Barat suit, Mughal Ganjifa set, 19th century
Image source: Wikimedia Commons

Number Seven in the Shamsher suit, Mughal Ganjifa set, 19th century
Image source: Wikimedia Commons

During the 16th century, Emperor Akbar introduced a variation of this game, the twelve suited Ganjifa. Each suit in this version represented a different facet of the kingdom, ranging from military prowess, financial power, and the zenana to mythological and cosmological elements such as divinities (sura), demons (asura), the forest beasts (ban, van) and serpents (ahi).

During the 17th and 18th centuries, the Mughal-style Ganjifa persisted as a beloved pastime in numerous regional courts across the Indian subcontinent. As the game traversed the subcontinent, various regions developed their distinct styles and suits. This game bridged socio-economic divides, captivating both the elite and the commoners in a shared recreational pursuit.

Notable variations include the Dashavatara Ganjifa from Sawantwadi in Maharashtra, the Mysore Ganjifa, the Ganjapa played in Odisha, and the Naqsh Ganjifa.

Dashavatara Ganjifa Mysore Ganjifa Ganjapa from Odisha Naqsh Ganjifa

Ganjifa Cards and painted box, present day
Image source: Wikimedia Commons

The 19th and 20th centuries marked the arrival of Europeans in the Indian subcontinent, where they introduced Western playing cards, leading to the gradual replacement of traditional games like Ganjifa with standardized rectangular European cards. These European cards, featuring simpler four suits and inexpensive printing, gained popularity among Indians, prompting large-scale imports from Europe and local replication in India.
Despite this shift, Ganjifa cards remain integral to India's traditional art and gaming culture. Today, a handful of artisans across India preserve the tradition by crafting Ganjifa cards, ensuring its continuity as both an art form and a game.

Ganjifa cards and a cardholder made of wood
Image source: D’source

Numerous organisations have made efforts to revive the tradition of playing Ganjifa and support the associated art form. In addition to its gameplay, art inspired by Ganjifa, is used to make wall hangings, coasters, jewellery boxes, and more. The game and art of Ganjifa, therefore has evolved over time, assimilating influences from various cultures while retaining its essence.

Jewellery box painted with intricate designs
Image source: D’source

Small drawer made of wood, painted with Ganjifa motifs
Image source: D’source

The Dashavatara Ganjifa

Circular ganjifa depicting the Rama avatar of Vishnu, Maharashtra, 19th century CE

Circular ganjifa depicting the Varaha avatar of Vishnu, Maharashtra, 19th century CE

Circular ganjifa depicting Vishnu as Parasurama, Maharashtra, 19th century CE

Circular ganjifa depicting the Kalki avatar of Vishnu, Maharashtra, 19th century CE

Circular ganjifa depicting the Vamana avatar of Vishnu, Maharashtra, 19th century CE

Circular ganjifa depicting the Narasimha avatar of Vishnu, Maharashtra, 19th century CE

The Dashavatara Ganjifa, a version of the Mughal Ganjifa, originated in the Deccan region during the 17th or 18th centuries. The Dashavatara, as the name suggests, comprises ten suits each representing a distinct avatar or incarnation of Lord Vishnu drawn from the Hindu mythology and literature like the Puranas.

In terms of structure, rules, and gameplay, the Dashavatara Ganjifa closely resembles the Mughal Ganjifa, possibly incorporating additional suits and cards to enhance the game's complexity.

Dashavatara ganjifa cards from Sawantwadi with ganjifa box, 1900 CE

The Dashavatara Ganjifa consists of ten suits, known as varna, rang, and jati, which is divided into two categories- the first five suits, known as ekka bandibaji, where the ace is the highest numeral card and the remaining five suits, known as daheli bandibaji, where ten holds the highest value. Each suit comprises twelve cards, featuring a Raja (King), a Pradhan (Minister), and ten numeral cards distinguished by a suit sign or chinha.
The ten suits depict various incarnations of Lord Vishnu, including Matsya (the giant fish), Kurma (the tortoise), Varaha (the boar), Narasimha (the half-man, half-lion), Vamana (the dwarf), Parashurama (Rama with an axe), and Ramachandra (the heroic incarnation from the Ramayana).
The eighth and ninth suits vary regionally based on local belief or tradition featuring two of following four suits-- Krishna (another heroic incarnation), Balarama (Krishna's brother), Buddha, or Jagannath. The tenth suit symbolises Kalki (the incarnation destined to end the sinful age, often represented by swords or horses).
The Dashavatara Ganjifa gained popularity as a Hindu card game across regions such as Rajasthan, Bengal, Odisha, Madhya Pradesh, Maharashtra, and Andhra Pradesh, and continued to be a cherished pastime in India. In Maharashtra, the Sawantwadi region remains a significant hub for the production of Ganjifa, with specialization in the Dashavatara version.

(Left to right) Dashavatara ganjifa cards from Sawantwadi depicting Number four of the Rama suit, King of the Krishna suit, Number five of the Vamana suit, 18 century CE

The Mysore Ganjifa

The Mysore Ganjifa was invented in the 19th century by the ruler of Mysore, Krishnaraja Wadiyar III. Krishnaraja Wadiyar, in the Sritattvanidhi (The Illustrious Treasure of Realities), dated to 1818, mentions the thirteen chada or card games of Mysore. The book detailed various themes, iconography, suit signs, and colours to be used on the cards.

Similar in gameplay to the Mughal version, the Mysore Ganjifa featured varying numbers of cards, ranging from 36 to 360, depending on the number of suits, with some loose cards. Originally crafted from materials like ivory or sandalwood, often adorned with gold and silver, the cards later transitioned to cardboard or stiff paper for wider public use. The Mysore Ganjifa illustrated themes from Hindu mythology, drawing inspiration from the Puranas, Mahabharata, and Ramayana. Additionally, the cards depicted divinities from the South Indian pantheon such as Goddess Chamundeshvari.

The cards are also tied to the royal Mysore dynasty. For example, in one variation known as the Krishnaraja Ganjifa, named after Krishnaraja Wadiyar III of Mysore, there are four suits: Vishnu, Shiva, Brahma, and Indra. Each suit comprised eighteen cards, featuring symbols representing the Wadiyar dynasty, such as the double- headed eagle or gandaberunda, elephant or haathi, vulture or jatayu, lion or gaja virala, and crocodile or makara.

While the game's popularity has waned among the populace, the cards continue to be produced in various regions of India. In addition to being cherished as decorative pieces and works of art, the Mysore Ganjifa is still played in the Indian subcontinent.

Illustrations depicting Mysore Ganjifa

Ganjapa from Odisha

Ganjapa, a variation of the Mughal Ganjifa, is a card game which continues to be played in Odisha today. Typically circular in shape, the Ganjapa are painted with vibrant colours in Pattachitra style of painting.

The origin of Ganjapa in Odisha is a subject of debate. Historians attribute the introduction of the game to the Bishnupur rulers of Bengal, who brought forth versions such as the Dashavatara Ganjapa (ten incarnations of Lord Vishnu) and the Digapala Ganjapa (guardians of the directions) in the region.

Various versions of the game exist, differing in the number of suits or colours. Based on the suit sets, the four-suited Ganjapa is known as charirangi, eight as atharangi, ten as dasarangi, twelve as vararangi, fourteen as chaudarangi, and sixteen as solarangi. These suit sets draw inspiration from various versions of the Ganjifa played across the Indian subcontinent. For instance, the four-suited Ganjapa is derived from the Naqsh Ganjifa, the eight-suited one from the Mughal Ganjifa, and the ten-suited one from the Dashavatara Ganjifa.

A set of Atharangi Ganjapa (the eight-suited Ganjifa cards), from Odisha

A set of Charirangi Ganjapa, (the four-suited Ganjifa cards), from Odisha

The Ganjapa artists derive themes and imagery largely from Hindu mythology, which may vary across regions. The suits based on themes include the Ramayana Ganjapa based on the Ancient Indian epic Ramayana, the Ashtadikpala Ganjapa, that portrays the lords or guardians of the eight cardinal directions, the Nabagunjara Ganjapa, and the Dashavatara Ganjapa.
The Nabagunjara Ganjapa, rooted in an episode from the Mahabharata, depicts Lord Krishna's visit to Arjuna during his penance, testing his friendship. This episode is captured in the Nabagunjara suit sets of the game, showcasing Krishna's manifestation as a composite of nine animals.
The ten-suited Dashavatara Ganjapa depicts ten avatara or incarnations of Lord Vishnu drawn from the Hindu mythology and literature like the Puranas. These include Matsya (the giant fish), Kurma (the tortoise), Varaha (the boar), Narasimha (the half-man, half-lion), Vamana (the dwarf), Parashurama (Rama with an axe), and Ramachandra (the heroic incarnation from the Ramayana). In Odisha, Balaram and Jagannath often feature as the eighth and ninth suits, sometimes supplemented by two additional suits representing Ganesh and Kartikeya. The tenth suit depicts Kalki (the incarnation destined to end the sinful world age, often represented by swords or horses).

A set of Dashavatara Ganjapa, from Odisha

In Odisha, the Ganjapa cards are crafted for everyday use, special occasions, and festivities. Despite a decline in production since the 20th century due to a decrease in patronage and popularity among the people, many artisans continue to preserve the tradition of Ganjapa. This ancient craft persists in several centres in Odisha such as Puri and Raghurajpur, renowned for their Dashavatara and Nabagunjara Ganjapa decks, as well as in Paralakhemundi, Chikiti, and Sonepur, where cards inspired by the Ramayana are produced. Today, Ganjapa remains a cherished tradition, with the game being played at various social gatherings and family events, and the cards themselves are regarded as invaluable pieces of traditional Indian art.

The Naqsh Ganjifa

The Naqsh Ganjifa, another rendition of the Mughal Ganjifa, is believed to have been introduced to India by Europeans. It distinguishes itself through an intriguing blend of elements from the Mughal Ganjifa and Western playing cards.
The term naqsh signifies a map or design. Typically played with four sets of the same suit, though some decks may feature up to eight suits. Each set comprises twelve cards—two court cards and ten numeral cards.
Unlike the Mughal version, the Naqsh Ganjifa cards are not divided into strong or weak suits. Instead, each card carries a fixed value. The king commands twelve points and the ace (referred to as pori) commands one. The game primarily relies on luck, where a hand totalling twenty-one or seventeen wins the pool, otherwise, pairs or triplets of the same number or suit claim victory.
The Naqsh Ganjifa cards are circular in shape, depicting themes and imagery similar to the Mughal and Dashavatara Ganjifa.
Up until the 20th century, Naqsh Ganjifa enjoyed widespread popularity in India. Bishnupur in West Bengal emerged as a prominent centre for the production of Naqsh Ganjifa cards. Additionally, in the Ganjam district of Odisha, the Naqsh Ganjifa is known as ekrang, or one colour, and consists of four sets of twelve cards belonging to the same suit. However, the Naqsh Ganjifa has significantly dwindled in popularity in modern India and is unknown to many people living in the subcontinent.

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