Ganjifa Art

The Ganjifa game was a popular pastime of ancient India. Known as the game of cards, Ganjifa found as much favour with the Kings and courtiers as well as with the general masses. Today more than the game it is the art of making Ganjifa that has gained prominence. The artwork on a Ganjifa card is so intricate and artistic; it is no surprise that it is an art form by itself.Our city has a very close relationship with this art form. The leading theory is that the Ganjifa pattern was created in Persia, most likely under the influence of playing cards from the East (probably money-suited decks) and introduced in India by the Mughals. The origin of the term Ganjifa is obscure. Ganj is a Persian term meaning “treasure”, “treasury” or “hoard”. The first mention of the game is made on the Babarnama, the memoir of Babur. The founder of the Mughal dynasty, Emperor Babur, who ruled from 1526 to 1530, reports in his annals, "This evening… Mir Ali Korchi was dispatched to Tattaq (in Sindh) to Shah Hussain. He is fond of the game with cards and had requested some which I have duly sent him." The word used for cards in this text is Ganjifa or the Persian Ganjafeh.The next, more detailed, reference is found in the Ain-I-Akbari, a book written by Abul Fazl Allami towards the end of the 16th century during the reign of the great Mughal emperor Akbar (1542-1605). Abul Fazl devotes a short chapter to the games — Chess and Ganjifa — played by Akbar.

Ramayan Story

This is an epic poem of courage, magic and humor, containing 18 books and 24,000 verses divided into 500 songs. Set in India, Rama (avatar--incarnation--of the God Vishnu) and his wife Sita have been banished from their kingdom of Kosala for fourteen years, due to a plot by the mother of one of Rama's four brothers to keep Rama from the throne. Rama's brother, Laksmana, accompanies the couple. King Rawana of Ceylon spies the beautiful Sita and creates a plan to abduct her. He sends one of his minions, magically disguised as a golden deer to entice Rama and Laksmana away from Sita. Rama goes after the deer, instructing Laksmana not to leave Sita. Rama brings down the golden deer with his bow and arrow. The golden deer reverts to its original shape and with its dying breath calls out "Help, help, help" in Rama's voice. Sita, hearing Rama's voice, entreats Laksmana to go and help Rama. When he refuses, she goads him into leaving. Laksmana draws a magic circle around Sita and tells her that she must stay inside it until he and Rama return. When Sita is alone, Rawana appears, disguised as an ailing old man, who begs Sita for help. When Sita steps out of the magic circle to aid the old man, the old man changes into Rawana and abducts Sita, telling her that Rama is dead. He rises in the air with her and flies to his Kingdom.

Raas Leela

Raas Leela was the favorite pastime or sport of Shri Krishna. In Sanskrit, it is known as ‘kreeda’ or activity. As soon as Janmashtami arrives, one of the most famous aspect the strikes us is the Raas Leela. It is indeed one of the most important aspects of the celebration of Krishnashtami. The divine sport of Raas Leela was enjoyed by the Lord with his gopis on the banks of river Yamuna in Vrindavan. One of the most loved gopi of Krishna was Radhaji. She was closest to Him and her love for the God was complete and in its pristine form. Even today, various renowned theater groups perform raas leelas. Different plays are staged with famous actors playing the lead roles to mark the birth anniversary of Lord Krishna. It is usually performed in the ‘brij bhasa’.From the age of ten, the God started playing raas leela with his gopis. And all the popular raas leelas were performed in the city of Vrindavan. There is also a legend behind the raas leela of Shri Krishna. According to Hindu mythology, the Lord was greatly loved by the gopis or devotees. They were so engrossed in Him that they forgot all their worldly chores and remained ‘magna’ or engrossed with Him. Their love was divine love or ‘prerna’. While performing the raas leela, the Lord was center staged with all the gopis surrounding Him. They all danced and sang in the glory of the Nandgopal. The raas leela was performed on the full moon night particularly during the season of autumn. Even the Gods and goddesses witnessed this divine performance from the sky as they all blessed them with flowers. One night, Lord disappeared to teach a lesson to all the gopis as they considered themselves to be superior to other women of the village. At that time of separation or ‘virah’, gopis sang ‘Gopika Gitam’ and pleaded God to come back. After many requests, God did come back.

Putana Vadha

While Nanda Maharaja was returning home, he considered Vasudeva's warning that there might be some disturbance in Gokula. Certainly the advice was friendly and not false. So Nanda thought, "There is some truth in it." Therefore, out of fear, he began to take shelter of the Supreme Personality of Godhead. It is quite natural for a devotee in danger to think of Krsna because he has no other shelter. When a child is in danger, he takes shelter of his mother or father. Similarly, a devotee is always under the shelter of the Supreme Personality of Godhead, but when he specifically sees some danger, he remembers the Lord very rapidly.

Mahishasuramardini - Goddess

There are several Durga puja stories, legends and mythologies. Some of them are about the goddess herself, while others are about Devi Durga’s devotees. These fascinating and marvelous stories have been taking rounds since ages through the oral tradition of literature. The most important story on Ma Durga has been written in ancient scriptures and textbooks. Read about that legend of Maa Durga by clicking on the link. Apart from this traditional story, there are several other renditions about the origin of Durga Pooja. One such story talks about the Pandavas, the famous five brothers from Mahabharata, the great Indian epic.

After losing in a game of dice, the Pandavas go into exile for 12 years and one year in disguise. While disguising themselves, they hid their royal clothes and weapons under a Shammi tree. On the day of Dashami (Dussehra), the Pandavas complete one year of disguised exile, and expose their true identities. It celebrates their true victory over evil and hence the day is known as Vijaya Dashami. Another famous story is related to Lord Rama. Before commencing the battle in Lanka against Ravana, Lord Rama started Chandi Puja (An incarnation of Maa Durga) with hundred and nine lotus flowers. To test the devotion and surrender of Lord Rama, Devi Durga hid one of the lotuses. When time came to pray to the goddess, Rama found himself short of one lotus flower. In order to make up for it, he surrenders his own eye. Immediately, Maa Durga comes out and saves his son and promises him victory. The Durga Puja held during this time is known as Bosonto Utsav.

There are several more stories on the occasion of Durga Puja. Each Durga temple in India has an enchanting and fascinating legend behind it. It is not possible to accumulate these rich and diverse stories in one written page. Maa Durga has always blessed her devotees and taken greatest care of them. Durga Puja is a way to honor this Goddess who is the Mahishasur Mardini and the beautiful and gracious mother.

Krishna Theme

The gopis of Vrndavana were so attached to Krsna that they were not satisfied simply with the rasa dance at night. They wanted to associate with Him and enjoy His company during the daytime also. When Krishna went to the forest with His cowherd boy friends and cows, the gopis did not physically take part, but their hearts went with Him. And because their hearts went, they were able to enjoy His company through strong feelings of separation. To acquire this strong feeling of separation is the teaching of Lord Caitanya and His direct disciplic succession of Gosvamis. When we are not in physical contact with Krsna, we can associate with Him like the gopis, through feelings of separation. Krsna's transcendental form, qualities, pastimes, and entourage are all identical with Him. There are nine different kinds of devotional service. Devotional service to Krishna in feelings of separation elevates the devotee to the highest perfectional level, to the level of the gopis.

Art and Crafts of Orissa

Rooted in custom, tradition and utility, the Oriyan craftsman is the vibrant link in an unbroken chain, which embraces both producers and consumers within a socio-religious framework. Throughout its history, Orissa nurtured a rich and variegated religious heritage. The interaction, which followed the rise and fall of different movements-Jainism, Buddhism, Shaivism, Vaishnavism-provided a remarkable cradle for cultural development. A strong tribal element ran side by side with religion and is still reflected in many of the crafts of Orissa.

Glimpses of the craft technologies that date back over several thousand years can be had from the shop windows of Bhubaneswar. The tie and dye or ikat technique of Orissa is, for instance, an ancient intricate process of dyeing yarn in segments to produce bold, beautiful patterns on the loom while weaving.

Wherever one goes in Orissa, one can find almost the entire range of arts and crafts in the market places of the main towns and cities. Co-operative societies have played an important role in preserving the rich craft heritage of the State by ensuring easy access to customers and thus sustaining a continuous demand for products. But perhaps the secret of Orissa's crafts lies in their fascinating combination of beauty and utility-a tribute to the vision of the craftsmen. Instead of being merely decorative reminders of another age, the crafts of Orissa are gloriously alive-suited to modern tastes and yet retaining all the essential traditional links with a checkered past.