Games have been an intrinsic part of human civilization, transcending time and culture. Among these, Gyan Chaupar stands out as one of India’s ancient board games, serving as a precursor to the globally popular game, Snakes and Ladders.

Gyan Chaupar is traditionally played on a board made of cloth, paper, or wood. The board features a series of squares, snakes, and ladders. The objective of the game for each player is to guide their game piece from the bottom square (start) to the top square (finish) by rolling the dice or cowrie shells. The game is played by 2 or more players. Players advance by climbing ladders and face setbacks by sliding down the snakes which they land on. The goal of each player is to reach the top square first and win the game.

The game, beyond its recreational aspect, holds a spiritual and educational significance. Gyan Chaupar, literally translating to the game of knowledge, embodies teachings on how to achieve moksha, that is liberation from the cycle of birth and death. The game is known by various names across the Indian subcontinent, such as Mokshapat, Moksha Patam, Parampada Sopanam, and Gyanbazi.

The origins of Gyan Chaupar remain a subject of debate. Some scholars attribute the invention of the game to Jnanesvara or Jnanadeva, a 13th-century saint from Maharashtra. Others point to a passage in the Rishabh Panchasika, a 10th century text, as the earliest reference to the game.

 

Throughout history, the game of Gyan Chaupar has been adapted to various religious beliefs and traditions, making it immensely popular and timeless in the Indian subcontinent. Although, in the modern-day Snakes and Ladders, the rules and the design of the board with 100 squares has been standardised, the ancient game of Gyan Chaupar varied in design, theme and imagery across the subcontinent. For instance, the Hindu version sometimes featured Vaishnava imagery, where the destination square was depicted as the Vaikuntha, the abode of Vishnu. Other designs included the image of Lok Purusha or the Cosmic Being, which surrounded the playing area.

During the medieval period, one version of the Gyan Chaupar, associated with the Hindu tradition, gained widespread popularity in the Indian subcontinent. The game was used to convey Hindu philosophy to the followers. The board usually consisted of 72 squares, with some variations in number of squares and gameplay. For instance, the Vaishnava boards from the Punjab Hills were made of over 300 squares, where snakes and ladders allowed both lateral and vertical movement.

In the game, players navigate their token across squares featuring vices and virtues, that correspond to the snakes and ladders, hindering, or aiding their progress toward the goal of moksha, the liberation from the cycle of birth and death. Virtues, such as dependability, faithfulness, generosity, and knowledge, contrast with vices like rebelliousness, crudeness, theft, lust, debt, and violence. The squares on the board were often related, illustrating, for instance, the link between ego and illusion, or devotion and paradise. The purpose of the game was to educate players about the positive and negative behaviours, along with their rewards and consequences. Notably, the snakes outnumbered the ladders, emphasising the difficult journey toward enlightenment.

Another version of the game, known as Gyanbazi, usually consisted of 84 squares, and is believed to have developed among the Jain saints of western India during the medieval period. The game was intended to teach moral lessons to saints and people in general. The progression of the player across the board mirrored the movement of the soul (jiva) through different worlds (lokas). The end of the game signified attainment of siddha or enlightenment. During the Paryushana festival, which involved fasting for 8 days, the game was widely played as a form of spiritual engagement.

Gyan Chaupar was also adapted to a Sufi version where the boards were inscribed in Persian with virtues and vices. It was made using ideas and designs from Islamic or Sufi spirituality, with the last square denoting the moment of merger with God.

The 18th century saw the establishment of British rule in the Indian subcontinent. During this period, the game of Gyan Chaupar, was adopted by the British, who eventually introduced it in England. Interestingly, a few Jain and Hindu designs of the game were commissioned as collectibles by British officers.

By the end of the 19th century, the game, known as Snakes and Ladders, began to be popularly sold in Britain. The British version of the game was crafted on cardboard or wood, and the squares in the board were standardised to 100.

While the ancient game depicted the fundamental ideals of morality, with illustrations of snakes and ladders, the British version was simplified and translated to suit the Victorian ideals. As compared to the Hindu and Jain versions which were based on spirituality, and attainment of enlightenment, the Western version focused on simpler ideals of honesty, grace and patience which were rewarded, while anger and dishonesty were punished.

Today, the game of Snakes and Ladders is widely played in India, often with no reference to its origins. The game, from being a guide to morality and spirituality, has now become a game of chance. While traditional Gyan Chaupar boards are considered as treasured heirlooms, the accessibility and convenience of the game on digital platforms has ensured its continued popularity among the masses.

Over centuries the game travelled and evolved, its basic design serving as a durable chassis for any culture that took it up, containing and transmitting their moral and spiritual beliefs. The game is a potent teaching tool whose simple design has been used for centuries, arguably even millennia, as a way to embody and reinforce religious teachings and cultural values. Along the way, it has evolved and adapted to incorporate the themes and aesthetics relevant to each culture that played it, from ancient India to Victorian England, to the USA and far beyond.