Of revivals and royals

Known as the art of the Konkan coast of Maharashtra, Sawantwadi is a home for Ganjifa artists who have survived for generations. Woven into the tradition of cards playing, Ganjifa has secured the legacy and significance of artistic merit in Indian culture. Originally hailed from Percia, the cards are adorned with pictures of deities and local tribes. In India, the tradition is preserved with the help of the royal patronage of Sawantwadi. However, this art form is now facing extinction because of the dwindling number of artists.

“Ganjifa has always been close to the family. In fact, we have always nurtured it. And now with time, artists, who earlier left due to lack of pay, are moving back to the art form,” says Yuvraj Lakham Khem Sawant Bhonsle, who was in the city with his wife Yuvrani Shraddha Lakham Sawant Bhonsle to talk about how they are preserving the art form, at city based Iteeha Studio. “Things have changed; the artists have become more conscious about their art form and they know that it needs a revival. We are experimenting with many products,” informs Yuvraj Lakhem.

The intricately designed Ganjifa cards tell many stories from ancient scriptures, and are made by the Chitrakar community of Sawantwadi. The cards have stories from Indian epics like Ramayana, Dashavatara — the incarnations of Lord Vishnu, and different forms of goddesses painted with natural colours. “We have been experimenting with water colours, but soon we will go back to our roots and use the natural colours,” Yuvrani shares.

Explaining their vision and ways to promote the art, Yuvrani says that they are tying up with various art schools and art studios to create awareness about this diminishing art. “We will assure public displays at various exhibitions and carnivals so that Ganjifa can reach to a bigger profile,” she says, adding that the artists are following the same traditional pattern to make every product. By following the traditional patterns, patrons are trying to revive and make Ganjifa more accessible to people without many changes. “If we start making changes, then slowly it will start transitioning into something that is not relevant to the traditional art, and we don’t want to do that,” explains Yuvraj.

As of now, 20 different artists, including 13 women, nurture Sawantwadi’s tradition of Ganjifa art. Surprisingly, the art that was dominated by men is now has equal participation of women. “We don’t do this in a way that we want to ignore the men, but we encourage women. Times are changing and women’s participation is equally important. Women are sincere for their work and they all work as family,” informs Yuvrani.

With the advent of technology, art forms have been experimenting with multiple modern techniques. But Ganjifa artist Ladu Thakur is not keen to experiment with his roots. “I am happy with what I am doing. Technology may overpower the art, but my work will be distinct because of my handwork,” shares Ladu, who is oblivious to the idea of making profits out of his art.

“I am satisfied with what I earn. My art is my priority. I don’t want to chase big cities for extra money,” shares the artist. Although Ganjifa artists are content with what they earn, the copy business is a serious threat to artisans across the country — Despite their talent, they are marginalized in the society. “It needs a conscious awareness about the craft work. You can’t stop people using technology and copying, but you can certainly make people aware that it is a hand painted piece and has a lot of creativity involved. Each piece is different from the other and has story behind it,” Yuvraj opines.

Inspired from the games engraved on the floors and ceilings of the old temples of the country, Ganjifa art is not restricted only to cards; it also encompasses games and lacquerware craft toys. These too are at the verge of dying, owing to the lack of support from the government.

“There is an initiative to support the Ganjifa art but that is not followed through, and that’s where the authorities are lacking. There have been certain funds given towards this art but it never reaches to the artists,” rues Yuvrani.