Phad Paintings

Phad Art

Q1. What is the history of phad art?

Phad art is a traditional form of painting from Rajasthan, India. The origin of Phad painting can be traced back to the 16th century AD when the rulers in Rajasthan were so impressed with the fabulous paintings of Jaipur’s painters that they decided to combine the royal style of royal family portraits with local stories and legendary tales.

These paintings were initially created as a form of storytelling, depicting religious stories and local legends. The paintings are done on large scrolls of canvas and are usually accompanied by a narrator and a musician.

The artists would narrate the adventures of brave kings, gods, goddesses and animals using iconography and bold colors that came from the region’s rich resources.

The paintings depict scenes from the life of the folk deities of Rajasthan, Pabuji and Devnarayan. The artists, who are called “Phad Painters,” belong to the Bhil tribe and are traditionally nomadic. The art form has been passed down through generations and is still practiced today, although it is not as popular as it once was.

These Phads were not just used as decorations, but also held spiritual significance, as they were believed to have spiritual power, convey stories of past generations, and bring luck to the households.

Today, as a part of the National Mission of Intangible Heritage Preservation, the government of Rajasthan is trying to revive this lost art form by training new painters to use traditional methods of production, and encouraging the current practitioners to pass down their knowledge and skills to the next generation.

Phad paintings are characterized by their bright colors and bold lines. They are usually painted on a long piece of cloth, which can be rolled up and carried easily. The paintings typically depict scenes from the lives of the folk deities Pabuji and Devnarayan, as well as other characters from Rajasthani folklore. The paintings are often accompanied by a narrator and a musician, who tell the story of the painting and provide background information about the characters and events depicted.

The Phad painters, who are usually Bhil tribals, are nomadic and travel from village to village, performing and displaying their paintings. The paintings are typically commissioned by wealthy patrons or by the temples of the deities. The paintings are created using natural pigments and a variety of brushes, including those made from squirrel hair.

In recent years, the popularity of Phad painting has declined, and the number of Phad painters has decreased. Efforts have been made by the government and non-government organizations to revive and promote the art form, including training programs for young artists and exhibitions of Phad paintings.

Phad paintings are considered as an important part of Rajasthan’s cultural heritage, and it has a unique place in the Indian art world. It is an important part of the state’s intangible cultural heritage and efforts are being made to preserve and promote it.

Q2. What are different types of ancient phad paintings?

There are several different types of Phad painting that have been developed over time, each with their own unique characteristics and styles. Some of the most notable types of ancient Phad painting include:

Pabuji ki Phad: This is the most popular and well-known type of Phad painting, and depicts the life and deeds of the folk deity Pabuji. These paintings are typically large in size and are accompanied by a narrator who tells the story of Pabuji.

Devnarayan ki Phad: These paintings depict the life and deeds of the folk deity Devnarayan. They are similar in style to Pabuji ki Phad, but focus on the stories of Devnarayan rather than Pabuji.

Rana Pratap ki Phad: These paintings depict the life and deeds of the Rajput king Rana Pratap, who is considered a heroic figure in Rajasthani folklore.

Sita Haran Phad: These paintings depict the story of Sita’s abduction by the demon king Ravan, as told in the Hindu epic Ramayana.

Bhagat Phad: These paintings depict the lives and deeds of the Bhagat, who are considered to be saints or holy men in Rajasthani folklore.

Goga Ji ki Phad: These paintings depict the life and deeds of the folk deity Goga Ji, who is considered a powerful and benevolent figure in Rajasthani folklore.

Each style of Phad painting has its own unique characteristics and techniques, and reflects the cultural and historical context in which it was created.

Which ones do we have presently? (44)

Raja Rani (2 options)
The Royal Procession (4 options)
Story of Pabuji (7 options)
Story of Ganesha (2 options)
Satyanarayan Vrat Katha
Happily marriage
Krishna Raas (2 options)
Nar Kunjar
Shree Hanuman Chalisa (9 options)
Raas Leela
Story of Dashavtar
Krishna Leela
Raja ki Shahi Sawari
Dashavtaar
Shiv Parvati Vivah
Ganesh-Kartikey ka Janma
Durga Sapasti
Faag (holi) (2 options)
Laxmi Narayan
Govardhan Leela
Ramcharitramanas
Nandi the sacred bull
Hanuman in spiritual mood

Pabuji ki phad: (to be written in own words)

Wikipedia(Source)

History

Pabuji is worshipped as a folk–deity. He lived in the 14th century (the 16th century is also mentioned) in a remote village known as Kulu in Rajasthan. Dhadal Rathore of village Kolu had four children: two boys, Buro the older and Pabuji the younger brother, and two girls, Sona and Pema. However, Pabuji was stated to be born to a nymph and as foretold by the nymph she was to return after 12 years as a mare to be with him. In his young age, Pabuji fought against the Khici clan to evict them from his land that they had encroached and killed their leader, Jindrav Khinchi. During this period, he also acquired a black horse from Lady Daval (goddess worshipped in Kolu) of Charan Clan and it is believed that this horse was in the reborn form of his own mother. He then went on to defeat Mirza Khan who was indulging in the killing of cows, which are held sacred by the Hindus and Muslim plunderer named Muslim marauder Mirza Khan Patan and also protected honour of the womenfolk.^[2]^[4]^[5]

An eventful part of Pabuji’s life was the marriage of Kelam, his favourite niece, to his friend, the snake deity of Rajasthan, known as Gogaji. At this wedding, while the wedding guests presented the couple with rich gifts (such as diamonds, pearls, an exquisite dress made from best cloth of South India, white cows, horses, elephants and so forth), Pabuji only promised her camels from Lanka (Lanka referred here is not the island of Sri Lanka, but refers to a kingdom west of the Indus River). He then went in search of a herd of camels to Lanka. After fighting and defeating the local ruler Ravana of Lanka, he then brought the herd of camels for his niece. When he was returning with the camels, he passed through Umarkot in Sindh (now in Pakistan). There, he fell in love with the princess Pulvati and after lot of persuasion married her.^[4]^[6]

The Kulu village where Pabu was born, now has only two conventional but small temples within a courtyard, where Puja (worship) is offered to the Pabuji. This village was known as the “great village fortress of Kolu” and it included the shrine of goddess Daval. The deity has still not attained the status for universal worship through building of many other temples elsewhere. Hence, only small shrines and commemorative stones are found in and around Kolu. Another reason attributed to the inadequate representation in the form of many temples to Pabuji is that the Bhopas are semi-nomadic and a traveling group who are not rooted to one place where they could build a temple for daily worship. Rabaris, also a semi-nomadic tribe and who are cattle herders of the region also revere Pabuji and consider it as the “myth of their origin”.^[7]^[8]

In villages of Rajasthan, Pabuji was considered an ascetic and hence his blessings were sought for veterinary services provided by his disciples, the Bhopas. He is also invoked to cure children possessed of spirits by driving away the djinn; this is done by tying an amulet created during the early hours of the morning, towards the end of the narration of the Phad, by circling a holy thread seven times around the flame and then seven knots.^[3]^[8]

The epic story of Pabuji has been analysed by historians with respect to the other epic stories of Ramayana and Mahabharata and the conclusion drawn is that the Pabuji tradition is “one multilayered and collective narrative construction of different Rajasthani performers, transmitted in oral and written forms.”^[9]

The Phad[edit]

The Phad canvas is usually of 15 by 15 feet (4.6 m × 4.6 m) sheet cloth, on which are painted (or sewn) miniature scenes depicting the life of Pabuji and his adventures.^[10]^[11]

The Phad or Par represents, in its painting, the court of Pabuji (as a historical true Rajput chief who sacrifices his life for protection of others), his palace and his divine character as an incarnation of Laksmana, brother of the Rama of the Ramayana Hindu epic story, the forts in which he lived as well as the sanctum of his goddess Deval. The backdrop of such narrations is invariably in the desert villages of Rajasthan. The images in the painting are arranged logically, also showing revengeful exploits of his nephew on his enemy, Jindrav Khici. However, iconographically it is considered as “extremely complex and intricate.”^[3]^[5]^[12]

The depictions (as shown in the image in the infobox) shows according to historian William Dalrymple a “panorama of medieval Rajasthan: women, horses, peacocks, carts, archers, battles, washer-men and fishermen, kings and queens, huge grey elephants and herds of white cows and buff camels, many-armed demons, fish-tailed wonder-creatures and blue-skinned gods, all arranged around the central outsized figure of Pabuji, his magnificent black mare, Kesar Kalami, and his four great companions and brothers-in-arms.”^[2]

The sequence of images (see infobox) painted on the Pabuji Ki Phad is: the main deity – Pabuji – is at the centre and to his right is his court with his four principal companions, on the left of the main deity, is the court of Buro, his brother. At the extreme left is Umarkot and at the left edge, Lanka. To the right of Pabuji’s court is the court of the Lady Deval (goddess of Kolu). At the far right of the painting is Khici’s court. The blank spaces in between are depicted with scenes of Pabuji’s journey from Rajasthan to Umarkot, and also images of Ganesh, Sarasvati and Vishnu in different incarnations that are painted at the top of the Phad or Par.^[2]

The Phad, from the time it is painted by the renowned painters of this art form, is treated with utmost reverence by the Bophas. They make daily offerings to the Phad. It is considered a hereditary possession and is passed on to one of their kin to continue the tradition. As the Phad gets worn or torn or becomes threadbare, a formal religious procedure is followed to decommission it. This procedure is called tandakarna in Hindi, which means to cool or remove its divine power. This is done by confining to the holy waters of the Ganges or Pushkar Lake.^[2]

Bhopas[edit]

Bhopa community in Rajasthan is considered to be of priest singers of Pabuji. They hail from the village of Pabusar(named after the hero of the epic) and are traced to the 16th century, though 14th century is also mentioned. It is also said that sweet water well was located in the village by Pabuji. They belong to the Nayak community, a Scheduled Caste community of Rajasthan. Phads are integral to the Bhopas’ vocation and are considered the “epic qua religious service.” They perform this art form through a combination of folk singing and dancing interspersed with interludes to interact with the audience in front of a scroll or canvas, known as Phad or Par in Rajasthani that depicts the episodes of the narrative of the folk deity. The Phad functions as a ‘portable temple.’ The Bhopas carry the Phad traditionally and are invited by villagers to perform in their localities during times of sickness and misfortune. The Phads are kept rolled during transit. After reaching a village or town, the Bhopas erect the Phad between two poles under a shamiana (an open tent)in a suitable public place shortly after nightfall. The performance goes on throughout the night and terminates only towards dawn.^[2]^[5]^[13]^[14]

Narration[edit]

The narrative usually held by the Bhopas in the backdrop of Rajasthani deserts, is narrated by the poet-singers as a structured rendition of the epic story, called the Pabuprakasa, glorifying Pabuji as a divine being. The rendering is highly “stylized and formulistic in its narration”. The text, which has a number of episodes, belongs to two different types namely, the parvaros and the sayls. The narrative of Pabuji, in particular, is recorded in the Khyata of Muhato Nainasi, a text with the title Vata Pabujiri. The entire narration relates to Pabuji and his heroic deeds. This epic, a courtly religious poem invoking Pabuji has 4,000 lines. Its recitation, from start to the end, takes full five nights of 8 hours duration from dusk to dawn; it is rarely fully recited now. The present trend of narration has many intermissions for taking tea, singing devotional songs (bhajans), popular film music, thus making it partly an entertainment coupled with the “religious ritual of invoking Pabuji as a living deity”.^[2]^[3]

The musical and sometimes chanted narration is in colloquial Rajasthani dialect. Bhopa is the main singer (narrator) who does it with an accompaniment of a musical instrument, called the ravanhattho (a desert zither or a spike fiddle with eighteen strings but without frets), which he crafts by himself. A dholak or drum is also part of the musical ensemble. During the entire narration, Bhopa’s wife called the Bhopi, is present with him and joins him in singing. She also carries a lantern to shed light on the Phad when Bhopa is indicating to some scenes on the Phad linked to his narration. The singer has a stick with which he points out each scene and narrates the story. He also sometimes dances to his songs and interjects his performance with jokes and banter with the audience. There are several such itinerant Bhopa groups performing in various parts of Rajasthan. One of the famous narrators of the epic named Mohan from Pabusar was an illiterate but he could recite the entire 4000 lines of the epic.^[2]^[3]^[6]^[13]

The narration of the epic is done in the jagarans (night-wakes) time to invoke the prakas, meaning the presence of the folk deities, in the Rajasthani dialect. The set sequence for the narration, which in local language, called the phad vacno or performance is in the following order.^[2]^[15]

Purification rites involving erecting of the Phad is preceded by sanctifying the site by cleaning the land below the Phad and lighting incense sticks. A small jyot (lamp) made of cowdung is lit in front of the Phad and then circled around the Phad of Phabuji.
The procedure for stretching the Phad involves running a string through the red band stitched at the top and then tie the rope to wooden or bamboo posts at both ends.
The bard narrating the epic, the Bhopa, is dressed in a costume called the baga. The Bhopa announces the start of the narration by blowing the Conch shell
Devotees offer grains and money for consecrating the Phad
The deities depicted on the Phad are then invoked.
The narration of the epic story by the Bhopas is “prosimetric.” The narration of verse sections is called gavs, which has a number of couplets known as karis. This is followed by the narration of the prose sections called arthavs (explanations). Each scene on the Phad is specifically shown with a wand by the Bhopas and then narrated
Collection of monetary contributions is part of the frequent intermissions for food, tea, tobacco or rest. Every time a donation is received, the Bhopa makes the announcement by blowing a conch-shell and mentioning the name of the donor.
At the conclusion of the performance, the Bhopas do an arati (offering of a lighted lamp for the deities) to the characters on the Phad, which is followed by another round of donations before the Phad is rolled up before dawn

The Phad’s epic narrations are attended primarily by the traditionally nomadic and camel-herding Rabari caste (for Pabuji is their principal deity). The Rajputs of Pabuji’s own warrior caste also attend.^[2] It represents navrasas or nine forms of Indian classical aesthetics such as love, war, devotion and so forth in it. Its particular theme is enthralling and is more on bravery so much so that it is said that due to “a narration of the tale, the gross gets burned around it”.^[16] Though they cater to the village Rajputs, narration is also attended by the Rajputs of the royal class. Present day narratives have drawn parallels with the Ramayana episodes to create divine attributes of the deities to Pabuji and the other characters. One writer attributes this development as “regarding Pabuji and other characters as avatars of Sanskritic deities and personages, though Brahmin influence is still minimal. Pabuji seems to be worshipped for very worldly ends, namely sound health, or its recovery, prosperity, a good marriage, a successful childbirth, and so on. Traditional Brahminic spirituality of moksha and mention of the Vedas is still virtually absent.”^[17]

An annual festival of Pabuji Ki Phad epic narration is held at Pabusar when 10,000 to 15,000 people are said to attend. This annual event is arranged and popularised by the Jaipur Virasat Foundation.^[18]

Phad painters[edit]

The Phads or Pars are painted by professional painters called citero. Well known professional painters are known by the clan name ‘Josi’ of the Chipa caste. Their expertise is in textile-printing and they operate from their traditional towns of Shahpura and Bhilwara in Bhilwara district of Rajasthan. There are at least seventeen or eighteen painters involved in painting this art form. However, Shree Lal Joshi and Shanti Lal Joshi are the most noted artists of the phad painting, who are known for their innovations and creativity. Bhopas also say that the painting made by Shree Lal Joshi have “the powers to exorcise any spirit…once the Phad was complete and the eyes of the hero were painted in, neither the artist nor the Bhopa regarded it as a piece of art. Instead it instantly became a mobile temple: as Pabuji’s devotees were semi-nomadic herders, his temple -the Phad visited the worshippers rather than the other way round.”^[3]^[5]^[19]

Painting method

It is a hereditary art form, which is passed on from father to son. A Bhopa commission’s this painting for religious purpose. The painting is drawn on a cotton cloth. The cloth is first prepared by applying a paste of flour and gum. It is then polished with a stone. An auspicious date is chosen for starting the painting since it is used for religious purpose by the Bhopa. A virgin girl only has the privilege of giving the first stroke of the brush on the Phad painting; normally the girl belongs to the painter’s family or to a high-caste. An outline of the painting is drawn by the artist with light yellow colour paint; only earth colours or vegetable colours or indigo are used. The colours are then mixed with gum and water, and painted one colour after the other, in the order of orange, yellow, and so forth. Black is the last colour paint used for the border. Again, on an auspicious day, the painting is signed by the artist at the centre of the painting, close to the image of the main deity. Signature of the Bhopa who commissions the painting is also included, but it is optional. As a last act, the artist is said to give ‘life’ or “awaken the deity” of the painting by opening the pupil in the eyes of the main deity at the centre of the painting. It then becomes the Pabuji Ki Phad of the Bhopa who has commissioned it.^[5]^[19]

The earliest painting of a Phad or Par, as mentioned by John Smith, a scholar of the “Epic of Pabuji”, is dated to 1867. Colonel James Tod, the British Lieutenant reported of a ceremony that included a Par painting in 1819. With the emphasis on bardic narration of Pabuji Ki Phad said to be on the decline in recent times, painters of Pars or Phads are also making Phads as collector’s items in smaller sizes, and with different religious and other themes.^[5]

Devnarayan Ji ka Phad:

देवनारायण की फड़ के अनुसार मांडलजी के हीराराम, हीराराम के बाघसिंह और बाघसिंह के 24 पुत्र हुए जो बगडावत कहलाए. इन्ही में से बड़े भाई सवाई भोज और माता साडू (सेढू) के पुत्र के रूप में विक्रम संवत् 968 (911 ईस्वी) में माघ शुक्ला सप्तमी को आलौकिक पुरुष देवनारायण का जन्म मालासेरी में हुआ.

देवनारायण पराक्रमी यौद्धा थे. जिन्होंने अत्याचारी शासकों के विरुद्ध कई संघर्ष एवं युद्ध किये. वे शासक भी रहे उन्होंने अनेक सिद्धिया प्राप्त की. चमत्कारों के आधार पर धीरे धीरे वे गुर्जरों के देव स्वरूप बनते गये एवं अपने इष्टदेव के रूप में पूजे जाने लगे. देवनारायण को विष्णु के अवतार के रूप में गुर्जर समाज द्वारा राजस्थान व दक्षिण पश्चिमी मध्यप्रदेश में अपने लोकदेवता के रूप में पूजा होती है.

उन्होंने लोगों के दुखो व संकटों का निवारण किया. देवनारायण महागाथा में बगडावतों और राण भिणाय के बिच रोचक युद्ध का वर्णन है. देवनारायणजी का अंतिम समय ब्यावर तहसील से 6 किमी दुरी पर स्थित देह्माली (देमाली) स्थान पर गुजरा.

भाद्रपद शुक्ला सप्तमी को वहीँ उनका देहावसान हुआ था. देवनारायण से पीपलदे द्वारा सन्तान विहीन न छोड़ जाने के आग्रह पर बैकुठ जाने से पूर्व पीपलदे से एक पुत्र बीला व पुत्री बीली उत्पन्न हुई. उनका पुत्र ही देवनारायण जी का प्रथम पुजारी हुआ.

कृष्ण की तरह ही देवनारायण भी गायों के रक्षक थे. उन्होंने बगडावतों की पांच गायें खोजी, जिनमे सामान्य गायों से विशिष्ट लक्ष्ण थे. देवनारायण जी प्रातकाल उठते ही सरेमाता गाय के दर्शन करते थे. यह गाय बगडावतों के गुरु रूपनाथ ने सवाई भोज को दी थी.

देवनारायण जी के पास 98000 पशुधन था जब ये देवनारायणजी की गायें राण भिणाय का राणा घेर ले जाता है तो देवजी गायों की रक्षार्थ खातिर राणा से युद्ध करते है और गायों को छुड़ाकर वापिस लाते है.

देवनारायण की सेना में ग्वाले अधिक थे. 1444 ग्वालों का होना बताया जाता है, जिनका काम गायों को चराना और गायों की रक्षा करना था. देवनारायण ने अपने अनुयायियों को गायों की रक्षा करने का संदेश दिया.

इन्होने जीवन में बुराइयों से लड़कर अच्छाइयों को जन्म दिया. आतंकवाद से संघर्ष कर सच्चाई की रक्षा की एवं शान्ति स्थापित की. हर असहाय की रक्षा की. राजस्थान में जगह जगह इनके अनुयायियों ने देवालय बनाए है जिनको देवरा भी कहा जाता है.

ये देवरे अजमेर, चितोड़, भीलवाड़ा व टोंक में काफी संख्या में है. देवनारायण का प्रमुख मन्दिर भीलवाड़ा जिले के आसींद कस्बे के निकट खारी नदी के तट पर सवाई भोज में है. देवनारायण का एक प्रमुख देवालय निवाई तहसील के जोधपुरिया गाँव में वनस्थली से 9 किमी दूर स्थित है.

देवनारायण का जन्म और प्रारंभिक जीवन (Devnarayan Birth and Early Life)

भगवान विष्णु का अवतार कहे जाने वाले गुर्जर जाति के आराध्य देव भगवान श्री देवनारायण जी का जन्म विक्रम संवत 968 माघ शुक्ल की सप्तमी के दिन मालासेरी में हुआ था, इनके पिताजी का नाम सवाई भोज एवं माँ का नाम साढू था, इस कारण इन्हें साढू माता का लाल भी कहा जाता हैं.

बचपन में देवजी का नाम उदय सिंह था, इनका विवाह राजकुमारी पीपल दे एवं दो अन्य रानियों नाग कन्या और दैत्य कन्या के साथ हुआ था. इनके एक बेटा बीला जो बाद में प्रथम पुजारी भी बने तथा बेटी का नाम बीली था.

कहा जाता है कि देवजी के जन्म के एक दिन पूर्व भादवी छठवीं तिथि को उनके प्रिय घोड़े नीलागर का जन्म हुआ था, मान्यता के अनुसार माँ साडू को स्वप्न में देवजी के अवतार से पूर्व उनकी सवारी के जन्म का संकेत मिला था.

बचपन

देवनारायण जी के पिता सवाई भोज ने दो विवाह किये थे, पहली रानी का नाम पद्मा था. मारवाड़ के सोलंकी सामंत की बेटी जयमती सवाई भोज से विवाह करना चाहती थी, मगर उसके पिता राण के राजा दुर्जन साल के साथ उनका विवाह सम्पन्न करवाना चाहते थे.

जब दुर्जन साल बरात लेकर गोठा जाते है तो सवाई भोज भी वहां पहुच जाते हैं. यहाँ दोनों यौद्धाओ के मध्य भयंकर युद्ध होता है इस युद्ध में सवाई भोज और जयमती वीरगति को प्राप्त हो जाते हैं. साथ ही दुर्जन साल अपने होने वाली रानी के खोने और अपमान का बदला भोज के खानदान को समाप्त करके लेना चाहते थे.

उस समय भोज की दूसरी रानी साढू गर्भवती थी, गुरु रूपनाथ जी ने उस समय कहा था रानी आपके गर्भ में पल रहा एक महान यौद्धा होगा, जो बड़ा होकर अपने पिता की मौत का बदला लेगा. साढू माता अपने बेटे को बचाने के लिए मालासेरी में रहना आरम्भ कर देती है वहां सवाई भोज का जन्म होता हैं.

मगर जब दुर्जन साल को इसकी खबर मिली तो साढू माता और उनके बेटे को मारने के लिए सेना भेजी. जब यह खबर साढू माँ के कानों पड़ी तो उन्होंने देवनारायण को लेकर अपने पीहर देवास का रुख किया. इस तरह अपने ननिहाल में देवजी बड़े हुए तथा अश्त्र विद्या तथा घुड़सवारी का भी ज्ञान प्राप्त किया. देवास के एक सिद्धवट के नीचे वे बैठकर साधना किया करते थे.

देवनारायण जी के चमत्कार (Devnarayan Miracles)

राजस्थान के चमत्कारी लोक देवताओं में देवनारायण जी भी एक थे, ये एक सिद्ध पुरुष थे जिन्होंने अपनी सिद्धियों का प्रयोग समाज कल्याण और उत्थान के कार्यों में किया. उनके मुख्य चमत्कारों में छोछूं भाट को जीवित करना, पीपलदे की कुरूपता दूर करना, सूखी नदी में पानी बह निकलना, सारंग सेठ को पुनर्जीवित करना आदि थे.

विष्णु की साधना करने वाले देवनारायण जी में दैवीय शक्तियाँ थी. एक बार की बात हैं धार के राजा जयसिंह अपनी पुत्री पीपलदे की अस्वस्थता के चलते देवजी के पास आए, उन्होंने अपनी शक्तियों से पीपलदे को बिलकुल ठीक कर दिया. आगे चलकर इन्ही राजकुमारी के साथ देवजी का विवाह हुआ.

देवनारायण जी की फड़ (Devnarayan ji ki Phad)

सम्पूर्ण भारत में गुर्जर समाज का यह सर्वाधिक पौराणिक तीर्थ स्थल है. देवनारायण की पूजा भोपाओं द्वारा की जाती है. ये भोपा विभिन्न स्थानों पर जाकर गुर्जर समुदाय के मध्य फड़ (लपेटे हुए कपड़े पर देवनारायण जी की चित्रित कथा) के माध्यम से देवजी की गाथा का वाचन करते है.

देवनारायण जी की फड़ में 335 गीत है. जिनका लगभग 1200 पृष्ट में संग्रह किया गया है एवं लगभग 15000 पंक्तियाँ है. ये गीत परम्परागत भोपाओं को कंठस्थ याद रहते है. देवनारायण की फड़ राजस्थान की फडों में सर्वाधिक लोकप्रिय व सबसे बड़ी है.

देवनारायण का निधन (Devnarayan Death Story)

संवत 999 में महज 31 वर्ष की अल्पायु में भगवान देवनारायण ने इस लोक को अलविदा कहा, जीवन भर गायों की सेवा एवं रक्षा करने वाले देवजी को गौरक्षक लोक देवता के रूप में पूजा जाता हैं उनके थान को देवरा कहा जाता हैं.

उनकी लोककथा का वाचन फड़ के माध्यम से किया जाता हैं. भारत सरकार ने इनके सम्मान में 2 सितंबर 1992 और 3 सितंबर 2011 को 5 रु के नोट पर देवनारायण जी की फड का चित्र अंकित किया.

Ganesha:

Body Composition

Ganapati is Adidev who took a different incarnation in every era . Their physical structure also has a specific and deep meaning. Shri Ganesh has been called Pranav (Om) in Shivmanas worship . In this one letter Brahma, the upper part is the head of Ganesha, the lower part is the abdomen, the lunar point is the laddu and the matra is the trunk.

He has four arms symbolizing omnipresence in all the four directions. He is a lamb because the entire grazing creation roams in his belly. Large ears indicate more receptive power and small-sharp eyes are indicative of subtle-sharp vision. His long nose (proboscis) is a symbol of great wisdom.

Legend

In ancient times, Saubhari Rishi had a very beautiful hermitage on Mount Sumeru. His very beautiful and virtuous wife’s name was Manomayi. One day the sage went to the forest to collect firewood and Manomayi got busy in household chores. At the same time, an evil Gandharva named Kaunch came there and when he saw the unique Lavanyavati Manomayi, he was distraught.

Kaunch caught hold of the sage-wife’s hand. Crying and trembling, the sage’s wife started begging him for mercy. At the same time Saubhari Rishi came. He cursed Gandharva and said, ‘You have caught the hand of my co-wife like a thief, because of this you will fill your stomach by stealing under the earth as a mouse. ^[1]

Trembling Gandharva prayed to Muni – ‘Kind Muni, I touched your wife’s hand because of indiscretion. forgive me The sage said that my curse will not go in vain, however, in Dwapar, Ganapati Dev will appear in the form of Gajmukh’s son at Maharishi Parashar’s place (Ganesha took different incarnations in every age), then you will become his vehicle named Dink, due to which even the gods will respect you. Will start doing Then the whole world will worship you by calling you Shridinkji.

While not giving birth to Ganesha , Mother Parvati created his body. At that time his face was normal. After the creation of Ganesha in the bathroom of Mata Parvati, Mata ordered him to guard the house. Mother said that Ganesha should not allow anyone to enter the house till she is taking bath. Only then Lord Shankar at the doorCome and say “Son, this is my house, let me enter.” When Ganesha stopped him, the Lord beheaded Ganesha. Mother Parvati was distraught seeing Ganesha lying lifeless in the ground. Then Shiva realized his mistake and put the head of Gaj on Ganesha’s torso. He got the boon of being the first worshipper, that is why Ganesha is worshiped first. Offering vermilion and doob to Ganesha gives special results. Apart from this, he also likes modak made of jaggery and laddoos made of boondi, leaves of Shami tree and betel nut. There is also a law to offer red dhoti and green cloth to Ganesh ji.

Marriage

According to the scriptures, Ganesha was also married, he has two wives ^[2] whose names are Riddhi and Siddhi and from them Ganesha has two sons and a daughter, whose names are Shubh and Labh, ^[2] this is the reason You often see these two words Shubh and Labh with his idol and they come in all births and deaths, worshiping Ganesha only achieves success but complete salvation is not possible by worshiping him. ^[3] Apart from these two sons of Ganesha, there is also a daughter, she is famous by the name of Santoshi Mata .

Twelve Names

There are many names of Ganesha, but these 12 names are prominent – Sumukh, Ekdant, Kapil, Gajkarnak, Lambodar, Vikat, Vighna-Nash, Vinayak, Dhumraketu, Ganadhyaksha, Bhalchandra, Gajanan. The above mentioned twelve names appear for the first time in Narada Purana in the twelve names of Ganesha. ^[4] There is a law of worshiping Ganapati by these names in the beginning of Vidyarambh and marriage worship.

Father- Lord Shankar
Mother- Bhagwati Parvati
Brothers- Sri Karthikeya , Ayyappa (elder brother)
Sisters- Ashoksundari , Mansa Devi , Devi Jyoti (elder sister)
Wife – Two (1) Riddhi (2) Siddhi (Ganesha is depicted as celibate in South Indian culture)

Son- Two 1. Auspicious 2. Profit
Daughter- Santoshi Mata
Favorite Bhog (Confectionery) – Modak, Ladoo
favorite flower – red
Favorite item- Durva (Dub), Shami-Patra
Overlord – of the water element
Main weapon – Parshu , Rope

vehicle – mouse
Favorite Clothing – Green and Red

Wood Carving furniture of Rajasthan

The traditional wood carving furniture of Rajasthan holds a distinct and unique place in the world of craftsmanship. Here are some key elements that make it truly special:

Exquisite Craftsmanship: The traditional wood carving furniture of Rajasthan is renowned for its exquisite craftsmanship. Skilled artisans meticulously carve intricate patterns and designs on solid wood using traditional hand tools. They possess a deep understanding of wood and its grain, allowing them to create intricate details and textures that add a touch of elegance and grandeur to each piece.

Symbolism and Cultural Significance: The wood carvings in Rajasthan’s furniture often incorporate symbolic motifs and designs that hold cultural significance. These motifs may include peacocks, elephants, lotus flowers, sunbursts, and various geometric patterns. Each design tells a story or represents a particular aspect of Rajasthan’s rich heritage, spirituality, or social customs. These symbolic elements give the furniture a unique identity and deeper meaning.

Variety of Styles: Rajasthan’s wood carving furniture showcases a wide range of styles, reflecting the diverse influences and regional aesthetics. From the ornate and intricate carvings of the Jodhpur style to the more geometric and angular designs of the Bikaner style, each style has its own charm and character. This diversity allows individuals to find furniture that resonates with their personal preferences and complements their living spaces.

High-Quality Materials: Rajasthan’s wood carving furniture is crafted using premium-quality wood, such as sheesham (Indian rosewood), teak, and mango wood. These woods are known for their durability, strength, and ability to showcase intricate carving details. The use of superior materials ensures that the furniture not only looks visually stunning but also stands the test of time.

Functional and Aesthetically Pleasing: Beyond its ornate carvings, traditional wood carving furniture from Rajasthan is designed with functionality in mind. Whether it’s a hand-carved bed, intricately adorned chests, or elegantly carved chairs, the furniture is crafted to serve its purpose while also enhancing the aesthetic appeal of the space. The blend of functionality and artistry makes these pieces practical and visually striking.

Preserving Heritage: Rajasthan’s wood carving tradition has been passed down through generations, with artisans continuing to honor and preserve this rich heritage. Each piece of carved furniture reflects the knowledge, skills, and traditions that have been refined over centuries. By acquiring traditional wood carving furniture from Rajasthan, you contribute to the preservation of this cultural legacy and support the livelihoods of talented artisans.

The traditional wood carving furniture of Rajasthan stands as a testament to the region’s rich artistic heritage. Its intricate carvings, symbolic motifs, and dedication to craftsmanship make it a truly unique and timeless addition to any interior space. Investing in this furniture not only brings beauty and functionality but also connects you to the cultural roots and stories of Rajasthan’s skilled artisans.