Born in 1971,
Sital Fouzdar belongs to a remarkable artistic lineage of traditional Dashabotar artists who have specialized in this unique craft since the 16th century. The Dashabatar cards, an altered version of the Mughal Ganjifa cards in both content and rules, were introduced to the royal court of Bishnupur in Bengal, during the reign of the king Bir Hambir of the Malla dynasty who ruled Bishnupur from about 1587 to 1622.
The circular Dashabotar cards, in a set of 120 cards, carry motifs pertaining to the 10 avatars of Vishnu in each suit of 12. Played by five people, it was a source of royal entertainment for more than three centuries. The responsibility of hand crafting these exotic playing cards lay with a single family of Bishnupur – the Fouzdars. Today, it is Sital who continues to uphold this craft. The renowned Bhaskar Fouzdar, a state awardee and Sudhir Fouzdar, a recipient of the President’s award, both now deceased, were his uncles.
Having lost his father as a young boy, Sital and his brothers learnt the craft from their uncle, Bhaskar Fouzdar. Sital was only in class IV when he began his training. He first learnt how to sketch the figures and it took him four years before his uncle would entrust him with painting a whole card and eventually, an entire set. Sital dropped out of school after class X, devoting himself to his art.
The Dashabotar cards are a way of life with the Fouzdars and the making of the cards, a labor-intensive process. Following in his uncle`s footsteps, Sital has taken it upon himself to pass on the tradition to not just his nephews (all of whom are graduates), but also to the women in his family. Sital and his brothers live under one roof and most of the members of the extended family, take active part in the craft, assisting Sital.
Sitting in his workshop, a small room in a modest home in the Shankhari Bazar area of Bishnupur, surrounded by stacks of white circular boards ready for painting, unfinished cards, strips of cloth, jars of tamarind glue, coconut shells and plastic bowls full of natural and synthetic colours and other paraphernalia, Sital focuses on keeping alive this 400-plus year old tradition. He vows never to deviate from the legacy that has been passed down. The only addition that he has made to the craft is a painted wooden box with a sliding lid (probably inspired by the Ganjifa boxes of other states), that is as beautifully made as the Ganjifa cards inside. Earlier, they would be merely packaged in a cloth wrap.
While the traditional diameter of the round cards is a little over 4 inches, Sital has been making them in several other customized sizes as well, ranging from 3” to 6”. Sital also revived rectangular ganjifa cards, which were once quite popular in a bygone era and co-existed with their round counterparts. However, Sital feels that the effort that goes onto the painting of the rectangular cards is not commensurate with the price received. There is also another kind of card game that the Fouzdars craft – the Naqshi cards, a game quite different from Ganjifa, requiring four players and comprising a 48 card set.
But the popularity of the game has long waned – a process that began with the appearance of the European machine printed cards in the early decades of the previous century. According to Sital, there are only a handful of old people who still play the game, probably having played with the last Malla king of Bishnupur, Kalipada Singha Thakur (1930-1983). Sital recalls how men from nearby villages would come up to his home and buy a pack of 120 cards from his uncle. This was in the early eighties and the price paid at the time could have been as much as Rs 800- Rs 1000 per pack (of 120), a handsome price to pay for an old villager at that time. Sital later discovered that many such buyers would actually rent out these cards to playing groups in their village and thus recover their investment!
Today, his buyers range from researchers, individual buyers/collectors and tourists, to online folk craft businesses. Most of his buyers tend to acquire smaller sets of ten avatar cards or mantri (minister) cards as curios – a practice that is encouraged by the artists in order to sustain themselves. Sital, who learnt to play the game, quite late in life, offers to teach it to only those buyers who buy the whole set of cards. Museums where Dashabotar cards are found include the Bishnupur Museum (Acharjya Jogesh Chandra Purakriti Bhawan) and the V&A museum in the U.K.
Sital also paints the famed Durga-patas, a nearly thousand-year-old Bishnupur royal tradition, where a large Durga-pata is worshipped side by side with the clay idol of Mrinmoyee (Durga) in the temple built in her honour. This form of Durga Puja was established by the Malla kings in AD 994 and a Fouzdar artist has been painting these ever since. He also paints Durga patas for individual buyers on request, ensuring there is some difference maintained between the "royal" commission and the pata sold to the customer. Sital and his family members also make clay idols during the puja season, to augment their income. He is currently busy crafting idols of Kali for the Kali mandir near his home.
A recipient of numerous awards, including the Kamala Devi Puraskar in 2004, the AMI Arts Festival award in 2021, the West Bengal State Award for 2024-25, and most recently, the Asian Paints Sharad Shamman for 2026, Sital has participated in exhibitions in major cities around the country. He participated in a workshop a few years ago which featured Dashavatar craftsmen from across India – Maharashtra, Karnataka, Odisha and West Bengal. He has taught his art to over 500 students through workshops and other such programmes and also taught on online workshops during the covid lockdown.
He hopes his nephews will be able to carry on with this dying tradition and but feels that unless steps are taken to increase the popularity of the game itself, it will be difficult to sustain this tradition.