Category: mahabharata
Content: Princess in the Mahabharata Fictional character Amba Mahabharata character Amba Information Gender Female Family Parents Kashya (Father) Kausalya (Mother) Sisters Ambika Ambalika Brother Senabindu Significant other Salva Home Kashi Amba ( Sanskrit : अम्बा , romanized : Ambā ) is a character in the Hindu epic Mahabharata .

She is the eldest and most beautiful daughter of Kashya, the King of Kashi , and the sister of Ambika and Ambalika .

Amba, along with her sisters, were abducted by Bhishma during their svayamvara ceremony, as brides to marry Vichitravirya , the King of Hastinapura .

Before the wedding ceremony, the princess approaches Bhishma, and informs him of her love for King Salva , upon which she is allowed to go to the latter and urge him to accept her as his wife.

To her dismay, Salva rejects her, regarding her to have been customarily accepted by Bhishma as his wife.

Despite her efforts, as well as those of Parashurama , Bhishma refuses to marry her.

Amba holds Bhishma responsible for her misfortune, undertaking a penance, and is granted a boon by Shiva .

She is reborn as Shikhandi , the child of King Drupada , and the sibling of the epic's female protagonist, Draupadi .

Etymology [ edit ] Amba is a commonly used word in Sanskrit meaning mother, also with Vedic linkage as the mother of the Vedas .

Legend [ edit ] Mahabharata Partial Family Tree Svayamvara [ edit ] The Adi Parva of the Mahabharata narrates the events of Amba's svayamvara at the Kingdom of Kashi.

Amba and Salva, the King of Salva , were secretly in love and Amba had promised to place the varmala on his neck, thereby choosing him as her bridegroom.

Bhishma learned of the ceremony of the three virtuous princesses, and went to the svayamvara to win the princesses for his step-brother Vichitravirya .

Upon arrival, Bhishma announced his intention to abduct the brides, challenging the assembled suitors to stop him.

Bhishma then forced the princesses into his chariot and rode away.

The kings followed and showered Bhishma with arrows; however, Bhishma returned the attack and defeated them.

Salva challenged Bhishma for a duel; Bhishma overpowered and wounded Salva, but spared his life.

Unaware of Amba's feelings, Bhishma proceeded to Hastinapura and presented them to Satyavati , who made arrangements for their marriage to Vichitravirya.

Amba approached Bhishma and the council of Brahmins and revealed that she and Salva were in love with each other and that she had been going to choose him as her husband in the svayamvara.

Bhishma conceded that she should make her own decision regarding the matter and sent her to Salva with honours, while Ambika and Ambalika were married to Vichitravirya.

Salva's rejection [ edit ] In the Ambopakhyanaparvan chapter of the book Udyoga Parva of the Mahabharata , the rest of Amba's tale is narrated by Bhishma when Duryodhana questions him as to why he did not kill Shikhandi , an ally of the Pandavas , the cousins and foes of the Kauravas .

Bhishma ensured that Amba was escorted safely to Salva's kingdom .

Amba informed Salva that she had come for him.

Salva retorted that he no longer desired her, as she was to be wed to another man.

He declared that she had been rightfully won by Bhishma, who had defeated and insulted him and the other kings.

He accused her of leaving with him of her own free will.

Amba pleaded with Salva, whom she considered her true love, to accept her.

But Salva reiterated his Kshatriya dharma and refused to accept her.

Rejected, the heart-broken Amba left the Salva Kingdom and retired to the forest.

In another version, Amba stung by this rejection went to Bhishma and accosted him, stating that he was responsible for all her problems.

Bhishma tried to convince Vichitravirya to marry Amba, but he rejected her stating that she was in love with someone else.

She then approached Bhishma to marry her.

He also refused due to his vow of celibacy .

This further infuriated Amba, as she had now been spurned by three bachelors.

She appealed to various kings to defeat Bhishma and bring her justice, but all of them refused, knowing Bhishma's capabilities.

Finally, the furious Amba went to the forest to please the devas so that she may have her revenge on Bhishma.

Parshurama's mediation [ edit ] Parasurama shoots Bhima in the presence of Amba , ca.

1616 Amba reflected on her plight and considered all the people responsible for it, including herself (as she did not escape Bhishma's chariot when Bhishma was fighting Salva), Bhishma (who abducted her), Salva (who rejected her) and her father (who arranged her svayamvara).

She finally arrived at the conclusion that Bhishma was the main culprit and swore to destroy him by austerities or battle.

She sought shelter with a group of ascetics that night and narrated her tale to them.

There the learned sage Shaikhavatya consoled Amba and promised to guide her in her austerities.

Other sages discussed amongst themselves Amba's situation and contemplated her alternatives and advised her to return to her father as there are only two true protectors of a woman: a father and a husband.

However, Amba declined, deciding to practice austerities.

The next day, the sage Hotravahana (of the Srinjaya race), a former king and Amba's maternal grandfather, passed by the place.

Upon listening to Amba's woe, the sage advised her not to return to her father and instead approach the sage Parashurama .

Akritavrana, one of Parashurama's disciples, also arrived at the place.

Hotravahana introduced Amba to Akritavrana and both of them explained Amba's ordeal to him.

Akritavrana gave Amba two options: either Parashurama should approach Salva to marry her or Bhishma should be defeated by Parashurama.

Amba asked Akritavrana to decide who was her culprit.

Akritavrana agreed with Amba that Bhishma was the root cause of her plight and should be the target of her revenge.

Akritavrana and Hotravahana explained Amba's predicament to Parashurama, whom Amba herself prayed to for help.

Parashurama gave his word to Amba that he would slay Bhishma, who was his disciple in the past, and destroy his pride.

When Parashurama arrived with his retinue at Kurukshetra and sent a message to Bhishma of his arrival, Bhishma came to see his guru, offering him the traditional respects.

A pleased Parashurama commanded Bhishma to accept Amba.

Bhishma refused, restating that he had taken a vow of celibacy.

An infuriated Parashurama threatened Bhishma with death.

Bhishma tried to calm the sage, but in vain, and he finally agreed to battle his guru to safeguard his Kshatriya duty.

Ganga tried stopping the battle by beseeching her son as well as the great sage, but failed.

The great battle lasted for 23 days, without any result.

On the 24th day when Bhishma chose to use a deadly weapon, at the behest of the divine sage Narada and the devas, Parashurama ended the conflict and the battle was declared a draw.

Parashurama narrated the events to Amba and told her to seek Bhishma's protection.

However, Amba refused to listen to Parashurama's advice and left angrily declaring that she would achieve her objective by asceticism.

Austerities [ edit ] Amba gave up food and sleep, and practised asceticism standing still for six months in the Yamuna river valley, surviving only on air.

She became emaciated and developed matted locks.

After that, she stood in the waters of the Yamuna, without food and practised austerities.

After that, she spent time standing on her tip toes, having eaten only one fallen leaf of a tree.

Her penance for twelve years started burning the heavens and the earth.

She then went to Vatsa kingdom, in which many renowned sages lived.

She roamed the kingdom, bathing in the sacred waters of the Ganges (Ganga) and the Yamuna.

Then, she visited the ashrams of many sages like Narada , Uluka , Chyavana , Vishwamitra , Mandavya , and Garga , as well as sacred sites like Prayaga , Bhogavati , and holy groves.

During her journey, she observed difficult vows and performed ablutions in the holy waters.

The goddess Ganga appeared before Amba and listened to Amba's tale that her austerities were aimed to destroy Bhishma , Ganga's son.

The angry goddess Ganga replied that since Amba's mind was crooked, she would become a crooked and tortuous river, which will remain dry for eight months and flow in the four months of the rainy season.

Ganga declared that the bathing places along the river's course would be in difficult terrain, and it will be infested with crocodiles and other fierce creatures.

Amba wandered practising severe vows and forgoing food and water for months.

She visited many tirthas in this time and finally returned to Vatsa , where Ganga's curse materialized.

Though half of her became the river Amba, the other half remained human, due to her ascetic merit.

Shiva's boon and Amba's death [ edit ] The ascetics of Vatsa dissuaded her from the austerities, but Amba maintained her resolve and told them her desire was to be born a man and slay Bhishma to avenge her misery.

The god Shiva appeared to her and blessed her that she would become a man in her next birth and destroy Bhishma.

Amba would be born to the king Drupada of Panchala and become a great warrior.

Amba would remember her previous birth and hatred of Bhishma.

Pleased with the boon, Amba created a funeral pyre of wood on the banks of the Yamuna and jumped in the fire saying "for Bhishma's destruction!".

Garland of ever-fresh lotuses [ edit ] Another variant narrates that Amba performed austerities and pleased Kartikeya , the god of war and Shiva's son.

He granted her a garland of ever-fresh lotuses and declared that whoever wore it will destroy Bhishma.

With this garland, Amba made one more attempt to seek help of many kings and princes to support her in her just cause.

However, there was no response from anyone of them to help her as they did not want to be on the wrong side of Bhishma.

In a final effort she approached Drupada but even he declined; in frustration she cast the garland off on a pillar outside Drupada's palace and went for austerities in the forest again.

While Amba kills herself, no one dares to touch the garland.

Rebirth as Shikhandi [ edit ] Main article: Shikhandi Drupada had no children, and so he engaged himself in austerities in the forest, seeking the blessings of Shiva for begetting a son.

Shiva granted him the boon that a girl would be born to him, but would transform into a boy later.

As prophesied, Amba was reborn as Shikhandi, whose true sex was not disclosed, and she was brought up as a boy.

When Drupada got his daughter in the garb of a son married to the daughter of Hiranyavarna, the King of Dasharna , her true identity was revealed, not only to the chagrin of the girl, her father, but also to Shikhandi herself.

The agitated Hiranyavarna declared war on Panchala.

Distressed by the turn of events, Shikhandi went into the forest to meet a yaksha (a nature spirit), Sthunakarna, who helped her by offering to exchange their sexes for a period of time.

Thus, Shikhandi became biologically male.

After Hiranyavarna's death, Shikhandi returned to swap sexes with the yaksha, but learnt that the yaksha had been cursed by Kubera to remain female until Shikhandi's death.

In the variant where the garland of ever-fresh lotuses is mentioned, Shikhandi wears the garland once, and Drupada realises that she would slay Bhishma.

Meanwhile, over the course of time, Ambika and Ambalika had grandchildren: the Kauravas and the Pandavas , who became arch-enemies.

Draupadi , the daughter of Drupada, was married to the Pandavas.

When a great Kurukshetra war between the Pandavas and the Kauravas ensued, Shikhandi sided with his brothers-in-law, while Bhishma stood with the Kauravas.

Bhishma had vowed "not to shoot at a woman, anyone who used to be a woman or has a woman's name or appears to be a woman", and so he narrated the tale of Amba to Duryodhana , and refused to fight Shikhandi.

When Bhishma led the Kaurava army, Shikhandi rode as the charioteer of Arjuna , the third of the Pandava brothers.

On seeing Shikhandi, Bhishma lowered his weapons.

Shikhandi and Arjuna pierced Bhishma's body, though all Shikhandi's arrows were not effective in wounding Bhishma.

At this stage, it was also the desire of Bhishma to die.

Before collapsing, he cried out that it was Arjuna's arrow that had killed him, and not of Shikhandi.

Bhishma lay on a bed of arrows for days, and died on the holy day of Uttarayana .

Thus, Amba's vengeance was fulfilled, when Shikhandi became the cause of Bhishma's death.

Shikhandi is killed in a sword fight with Ashwatthama when he, Kripacharya , and Kritavarma attacked the Pandava camp on the night of the final day of the war.

References [ edit ] ^ www.wisdomlib.org (15 June 2012).

"Amba, Ambā, Aṃbā, Āmba: 27 definitions" .

www.wisdomlib.org .

Retrieved 16 November 2022 .

^ www.wisdomlib.org (28 January 2019).

"Story of Ambā" .

www.wisdomlib.org .

Retrieved 16 November 2022 .

^ Simon Brodbeck; Professor Brian Black (2007).

Gender and Narrative in the Mahabharata .

Routledge.

p.

205.

ISBN 978-1-134-11995-0 .

^ T.

B.

Coburn (1988).

Devī-māhātmya: The Crystallization of the Goddess Tradition .

Motilal Banarsidass.

p.

201.

ISBN 978-81-208-0557-6 .

^ Kisari Mohan Ganguli .

"Section CII" .

The Mahabharata, Book 1: Adi Parva .

Sacred-texts.com .

^ John Garrett (1989).

A Classical Dictionary of India Illustrative of the Mythology, Philosophy, Literature, Antiquities, Arts, Manners Customs &c.

of the Hindus .

Atlantic Publishers & Distri.

p.

27.

GGKEY:YTLNG1DG7JN.

^ Kisari Mohan Ganguli .

"Section CLXXVI" .

The Mahabharata, Book 5: Udyoga Parva .

Sacred-texts.com.

^ "4.

Amba and Bhishma" .

Mahabharataonline.com .

Retrieved 30 April 2013 .

^ Mani, Vettam (1975).

"Amba".

Puranic Encyclopaedia: a Comprehensive Dictionary with Special Reference to the Epic and Puranic Literature .

Motilal Banarsidass Publishers.

pp.

27–29.

ISBN 978-0-8426-0822-0 .

^ Kisari Mohan Ganguli .

"Section CLXXVII" .

The Mahabharata, Book 5: Udyoga Parva .

Sacred-texts.com.

^ Kisari Mohan Ganguli .

"Section CLXXVIII" .

The Mahabharata, Book 5: Udyoga Parva .

Sacred-texts.com.

^ Kisari Mohan Ganguli .

"Section CLXXIX" .

The Mahabharata, Book 5: Udyoga Parva .

Sacred-texts.com.

^ Kisari Mohan Ganguli .

"Section CLXXX" .

The Mahabharata, Book 5: Udyoga Parva .

Sacred-texts.com.

^ Kisari Mohan Ganguli .

"Section CLXXXI" .

The Mahabharata, Book 5: Udyoga Parva .

Sacred-texts.com.

^ Kisari Mohan Ganguli .

"Section CLXXXVIII" .

The Mahabharata, Book 5: Udyoga Parva .

Sacred-texts.com.

^ Kisari Mohan Ganguli .

"Section CLXXXIX" .

The Mahabharata, Book 5: Udyoga Parva .

Sacred-texts.com.

^ Kisari Mohan Ganguli .

"Section CXC" .

The Mahabharata, Book 5: Udyoga Parva .

Sacred-texts.com.

^ Gaṅgā Rām Garg (1992).

Encyclopaedia of the Hindu World: Ak-Aq .

Concept Publishing Company.

p.

371.

ISBN 978-81-7022-375-7 .

^ Devdutt Pattanaik (2002).

The man who was a woman and other queer tales of Hindu lore .

Harrington Park Press.

p.

60.

ISBN 978-1-56023-180-6 .

^ Gopal, Madan (1990).

K.S.

Gautam (ed.).

India through the ages .

Publication Division, Ministry of Information and Broadcasting, Government of India.

p.

62 .

^ Wendy Doniger (1999).

Splitting the Difference: Gender and Myth in Ancient Greece and India .

University of Chicago Press.

p.

284.

ISBN 978-0-226-15641-5 .

^ David W.

Machacek; Melissa M.

Wilcox (2003).

Sexuality and the world's religions .

ABC-CLIO.

p.

126.

ISBN 978-1-57607-359-9 .

^ K M Ganguly (1883-1896).

The Mahabharatha Book 10: Sauptika Parva section 8 Ashwatthama killing Shikindin, October 2003, Retrieved 2015-10-2 External links [ edit ] Rajaji Mahabharata Summary/Amba and Bhishma v t e Mahabharata Traditional author and narrators Vyasa Vaisampayana Ugrashrava Sauti Books ( parva s) Adi Sabha Vana Virata Udyoga Bhishma Bhagavad Gita Drona Karna Shalya Sauptika Stri Shanti Anushasana Ashvamedhika Ashramavasika Mausala Mahaprasthanika Svargarohana Harivamsha Tribes Main tribes Bharata Kauravas Pandavas Yadu Kunti Gandhara Matsya List of tribes Janapadas Mahajanapadas Places Capitals Hastinapur Indraprastha 48 kos parikrama of Kurukshetra Kurukshetra Jyotisar Panchagrama Indraprastha Pranaprastha Swarnaprastha Tilaprastha Vyagaprastha Events Svayamvara Kurukshetra War Vishvarupa Chakravyūha Characters Abhimanyu Amba Ambika Ambalika Arjuna Ashwatthama Babruvahana Bahlika Balarama Bhagadatta Bharata Bhima Bhishma Bhurishravas Chitrāngada Chitrāngadā Damayanti Dhrishtadyumna Dhritarashtra Draupadi Drona Drupada Duhsala Durvasa Duryodhana Dushasana Dushyanta Ekalavya Gandhari Ganga Ghatotkacha Hidimba Hidimbi Iravan Janamejaya Jarasandha Jayadratha Karna Kichaka Kindama Kripa Krishna Role in the Mahabharata Kritavarma Kunti Lomasha Madri Nahusha Nakula Nala Pandu Parashurama Parikshit Purochana Pururavas Rukmi Rukmini Sahadeva Sanjaya Satyaki Satyavati Savitri Shantanu Shakuni Shakuntala Shalya Shikhandi Shishupala Subhadra Sudeshna Ulupi Upapandavas Uttara Uttarā Vichitravirya Vidura Vikarna Virata Vrishaketu Vrishasena Vyasa Yayati Yudhishthira Yuyutsu Related Avatars Kingdoms Vedic era Epic-Puranic chronology Sarasvati River Category v t e Hindu deities and texts Gods Trimurti Brahma Vishnu Shiva Agni Ashvins Chandra Dattatreya Ganesha Hanuman Indra Kama Kartikeya Krishna Kubera Rama Shasta Surya Varuna Vayu Vishvakarma Yama more Goddesses Tridevi Saraswati Lakshmi Parvati Aditi Bhumi Chhaya Durga Ganga Shachi Kali Mahadevi Mahavidya Matangi Matrikas Radha Rati Rohini Rukmini Sanjna Sati Shakti Shashthi Sita more Other deities Apsaras Asuras Daitya Danava Devata Dikpāla Gandharvas Gana Kuladevatas Gramadevatas Rakshasas Vahanas Yakshas / Yakshini Texts ( list ) Vedas Rig Sama Yajur Atharva Upanishads Puranas Ramayana Mahabharata Bhagavad Gita Yoga Sutras of Patanjali more Hinduism Hindu mythology Retrieved from " https://en.wikipedia.org/w/index.php?title=Amba_(Mahabharata)&oldid=1251858778 "


Category: Cultural Elements
Content: Traditional Indian Game s – Dr. Swati Kela           World Forum On Early Care and Education -  Vancouver, April 2024                  1 | Page
 Traditional Indian Games
Dr. Swati Kela, India
  "GAME" is universal and has no cultural or linguistic boundaries. Games appear to be the common property of people who know t hem professionally or
as amateurs. Many games, which we think are just pastimes, are, in fact, relics of religious rituals that often date back to the birth of humankind. Games echo the
traditions and ethos of a particular country or region. The pleasure of voluntary action is the soul of games. Traditional Ga mes act as learning aids. They teach us
many things while playing, like lear ning to win and lose, developing sensory skills, counting, adding, improving motor skills, identifying colour , improving hand -
eye coordination, and finally, having fun. The values we achieve by playing these games are more than those we play nowadays. Some of the values we gain are
that they are environment friendly, we get a chance to learn about our culture and history, and the important thing is they a re suitable for all ages, increasing the
interaction between generations. Many modern game s played around the world have their origin in these traditional games. This is a matter of pride in our nation's
culture. Some prominent traditional games originated in our country and became famous worldwide.
                    Games are top -rated worldwide, and everyone prefers to participate, from children to adults. Various traditional games are part and parcel of Indian
tradition. India has consistently exhibited its rich culture and tradition. Games have been an essential part of Indian culture endlessly, suitable from their origin.
India is considered a place of origin for several traditional games which are well -known worldwide. Several leading traditional games of Indian origin are
Teerandaji, kabaddi, kho-kho, Polo, shatranj, and Martial Art. All these games require technical and tactical skills and other physiological component s like speed,
strength, stamina, agility, and coordinative abilities. Apart from this, our traditional games require very little equipment and are less expensive than modern
games. As a result, the traditional games of Indian origin have become more popular amongst the masses.
   Simplicity and accessibility are the genuine flavours  of traditional Indian games.
Additionally, these games have a traditional, social, and cultural perspective. In their leisure time, children get together and develop a camaraderie that aids in
developing their social and cultural ties. These kids come from various socioeconomic, relig ious, and familial backgrounds. However, they discover a shared
philosophy and game plan when they play these games. These games don't ask kids to be anything other than themselves, whether  they live in rural or metropolitan
settings or any income stratum.  Not to mention how modest traditional games frequently foster true team spirit inadvertently.
       The history of traditional games in India is very ancient. With its origin in the early Vedic era (2000- 1000 B.C.), it passed from different periods of political
history, such as the epic age (1000- 600 B.C.) and the historical age (600 B.C.). Nalandine period (300 A.D), Rajput period (300- 1200 A.D), Muslim period (1200 -
1750 A.D), British period (up to 1947), and leading the way for the post -independence era. It is more likely that many of today's Olympic disciplines are advanced
versions of games of strength and speed that flourished in ancient India. Chess, wrestling, Polo, archery, and hockey (possibly a fallout from Pol o) are some
games believed to have originated in India.

Traditional Indian Game s – Dr. Swati Kela           World Forum On Early Care and Education -  Vancouver, April 2024                  2 | Page
 Benefits of play:
1. Including any sport or game in a child's daily routine significantly impacts that youngster's personality development and mat uration.
2. A kid develops resilience and mental and physical strength by engaging in sports and physical activities. Similar to how t hey aid in a child's general
development.
Traditional Indian games.
1. Youngsters learn to amuse themselves with fewer resources by playing traditional Indian games.
2. Strengthens the mind.
3. Encourages a mind -set of problem -solving.
4. Educate the youngster in social interaction.
5. Makes hand- eye coordination better.
6. Encourages discipline in children.
7. Promotes a winning attitude.
8. Children learn about our culture by participating in traditional Indian games.
9. Meet new people.
10. Children are kept joyful and upbeat by these games.

1]  GILLI - DANDA:
Name of Game:  Gilli Danda/Vitti- Dandu.
Country of Origin:  India.
  History Of Game (Other Notes ): * It is an amateur sport.

 *Gilli Danda is one of the most thrilling traditional Indian games.
    It was invented on the Indian Subcontinent & thought to have originated 2,500 years ago.  *This game is the root of some games, like Cricket, Softball, & Baseball.
   Material required:
       1. Two sticks - The smaller, oval -shaped wooden piece, 5 to 13 cm long & 2 to 3 cm in diameter & both ends pointed, is called a “Gilli”
 & the longer one, 42 to 45 cm long & 3 to 4 cm in diame ter & only one end pointed, is termed a “Danda” .
       2. Ground -  No specific requirement of shape/size. Only a  pit called Gali is required to put the Gilli to start the  game.
       3. Players -  No such binding two/more up to a hundred players of any age group above six years can play.
 Gilli -Danda

Traditional Indian Game s – Dr. Swati Kela           World Forum On Early Care and Education -  Vancouver, April 2024                  3 | Page
 Instructions:
1. The game starts by tossing -  olisukhi .
2. The player who wins the toss starts first.
3. The player first places the Gilli on the pit & the pointed end of the stick -Danda  is bent over
stick & hits the Gilli at the raised end, which flips it into the air.
4. While in the air, the player hits the Gilli  as far as possible.
5. If a player standing in the field catches a stick hit by a player, then that player is dismissed.
6. Otherwise, the player earns points on the number of hits of Galli in the air & the distance between
the pit & the dropped Galli on the ground. Danda  measures this distance.
7. Ultimately, the person or the team with the most points wins the game.
8. The secret to winning this game is in raising and hitting Gilli.

Cultural Links:
https://inmarathi.net/vitti- dandu- information -in-marathi/#viti_dandu_khelaca_itihasa_-
_history_of_vitti_dandu_game
Learning Outcome s:
1. It helps to improve eye & hand coordination.
2. Increase & build concentration power.
3. Increase numeracy skills.
4. It fosters a healthy competitive spirit.
5. It provides a mode of interaction with children in a similar age group.
Adult Role:
        There is no need for adults.
Control +  Click on image to watch  a video.
https://drive.google.com/file/d/1xSz8L_2mqeUe -
H2ycOBz9KxQr8NaCvA9/view
Traditional Indian Game s – Dr. Swati Kela           World Forum On Early Care and Education -  Vancouver, April 2024                  4 | Page
 2] LAGORI:
Name of Game:  Lagori/ Lingocha/ Seven Stones
Country of Origin:  India - Southern part of India.
History Of Game (Other Notes):
 It is the most ancient game of the Indian subcontinent, whose history dates back to the Bhagwata Purana,
 A Hindu religious text, nearly 5000 years old. It mentions Lord Krishna playing the game with his friends.
 It is included as a demonstration sport in the 2023 National Games of  India.
 Today, the Lagori is played in thirty nations across the world & gained global prominence . Since 2015 the
Lagori World Cup Tournament has started.

Material Required:
1.Seven stones, probably flat stones.
2. Rubber ball
3. Ground-  Outdoor area.
Players- The game is played between two teams-  the seeker & the hitter, with a minimum of three players in each team.
In the World Cup Tournament, there are a total of twelve players in  each team & only six players are on the ground for each set.
1. A total of three sets are played. Each set is of three minutes, followed by a half -minute break.
2.  A pile of flat stones is placed in the middle of the ground.
3. One team member - the Seeker, throws a ball at a pile of stones to knock them over and then tries to
    restore the pile of stones while staying safe from the opposite team the Hitter's throws.
4. The Hitter ’s aim is to hit the ball before the seekers reconstruct the stone pile. If the ball touches the Seeker,
Lagori
Traditional Indian Game s – Dr. Swati Kela           World Forum On Early Care and Education -  Vancouver, April 2024                  5 | Page
     that Seeker is out.
5. A Seeker can always safeguard themselves by touching an opposite team member before the ball hits the
    Seeker.
6. The Hitter cannot run with the ball to hit the Seeker.
7. To declare the reconstruction of the pile, the Seeker must say the game's name after restoring the pile of stones.
8. If the ball hits the pile & opposite member catches the ball, then the whole team is out.
 Cultural Links:
 https://www.topendsports.com/sport/list/lagori.htm

Learning Outcome
1. It improves observation skills, strategy- building skills, speed, concentration & strength.
2. Improves eye & hand coordination.
3. Improves team- building spirit in children.
4. Children can learn to compete in a healthy environment and value friendship & leadership. Thus improve social interactions.
5. It improves physical health.
 Adult Role:
  In general, children play on their own. Adult instructions are not necessary. But when tournaments are there, fixed rules & regulations are followed.

Traditional Indian Game s – Dr. Swati Kela           World Forum On Early Care and Education -  Vancouver, April 2024                  6 | Page
 3] KANCHEY/ GOTYA :
Name of Game: Kanchey/Gotya/Gooli Gundu/Marbles
Country Of Origin: India.
History Of Game (Other Notes):
     * It is interesting, inexpensive traditional game invented in Indian land.
• In the ancient Era, when humans lived in caves, they used mud & to make small, circular balls to play.
• In the first half of the twentieth century, 2500 BCE, the marbles were found in excavations near Mohenjo- Daro, a site associated with the Indus
Civilization.
• In ancient Egypt, it was made up of clay, stones, or glass.
• Imported marble from the Low Countries came to Britain during the Middle Ages .
Material Required:
1. Dark green or multicolour marbles half to one inch in diameter.
2. Ground - It can play in a tiny place, outdoors or indoors. It requires a small pit & a circle measuring approximately 2 to 3 feet in diameter. The game could
be played on any surface and weather.
3. Players - Two or more players of any age can play the game.
Instructions:
1. A circle measuring approximately 2 -3 feet in diameter is drawn in the ground using a stick or a stone.
2. Each player contributes a minimum of two marbles each to begin the game. All the marbles are
collected at the centre of the circle.
3. Approximately three feet away from the hole there is a line & the players stand at the line and try to
throw their marbles into the pit. The person whose marble is closest to the pit gets to play first,
followed by the second nearest, and so on.
4. The players take turns shooting the marbles. The player shoots by holding the marble tautly in the
forefinger of the left hand, then stretching the finger back like a bow -string by the pressure of the
forefinger of the right hand, and finally by releasing the finger such that the marble flies forward.

Traditional Indian Game s – Dr. Swati Kela           World Forum On Early Care and Education -  Vancouver, April 2024                  7 | Page
 5. The left thumb should always firmly touch the ground.
6. The players take turns knocking marbles out of the circle. They get to keep the marbles knocked out of the circle.
7. The game ends when no marbles are left in the circle.
8. The player with the highest num ber of marbles wins the game.
 Variation: In a variation of the above game, the other players select the marble to hit once the marbles are collected in the circle's centre . If the player
hit the desired marble, he wins all the remaining marbles in the circle. The game continues similarly with the other players.
Cultural Links:
 https://sportkhelo.co.in/gotya -game -information -in-marathi/
Learning Outcome:
1. It improves concentration, eye & hand coordination.
2. It helps to develop mathematical numeracy skills, & motor skills.
3. It nurtures healthy competition & provides an opportunity to socialize.
Adult Role:
Children play on their own.

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 4] LANGADI
Name of G ame: Langadi
Country Of Origin: India.
History Of Langadi (Other Notes):
 It is a traditional Indian field sport, which combines elements of tag and hopscotch.
 It originated from the Pandiyan Dynasty and was called,  Nondiyaatt am.
 Langdi is useful in training for sports like  kho kho, volleyball  and gymnastics .
 The National Langdi Federation received national recognition in 2010.
 Now Langadi is becoming popular in other countries.

Material Required:
1. Ground-  As such, no material is required. Only 10 to 18 meters of ground is needed.
2. Players - A minimum of two players can play this game as a pastime & for fun.
3. Anyone above three can play this game.
4. It is also a team sport. There are two sides, with twelve players on each side & an
additional three extra players.
 Instructions:
1. A match lasts 36 minutes.
2. It is played in four innings of nine minutes each, with the teams alternating roles in each inning.
3. A coin toss is done before the game, with the team that wins the toss defending.
4. The chasing team sends chasers who hop on one foot and try to tag the defenders. The chasers can step out of the ground as long as they keep on one foot.
The defenders are declared out if they step out of the ground or commit a line fault.
Control  + Click on image to watch a video.
https://drive.google.com/file/d/106ZVM_adjJ
z9vs9XRJ6QPKSdMa_BN5ab/view
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 5. Once all defenders in the field are tagged, a new set of defenders enter the field from a designated entry zone, with the cha ser required to go to the other
half of the field before tagging the latest defenders. If the chaser fails to remain on one foot, they leave the field, and a new teammate will come.
6. During the first turn that a team chases, their chasers must hop on their right foot, and then in their next chasing turn the y must all hop on their left foot.
7. The team that tags the most defenders is declared the winner.

Cultural Links:
https://en.wikipedia.org/wiki/Langdi_(sport)
 Learning Outcome:
1. In Langadi, we do all the running, sprinting, stabilizing, reaching, outbound, and hopping on a single leg. So, the leg strength increases.
2. It fosters stamina, balance, & concentration.
3. It improves the work of the respiratory system.
4. It gives good physical exercise & good motor control.
5. It helps in body awareness & reduces  the chances of injuries & helps in performance improvements.
6. It is helpful for games like Kho -Kho, Volleyball, Athletics, & Gymnastics.
Adult Role:
When it is played as a past ime, then there is no need for adults. Children play on their own.

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 5] TIKKAR/ STAPOO
     Game Name: Tikkar/ Chhipri/Kith Kith/ Stapoo/Nondi /Hopscotch
        Country Of Origin: Popular in Indian Sub -continent. But its origins dating back to ancient Rome.
History Of Game:
• It is believed that Roman soldiers invented this game for impro ving their footwork.

Material Required:
The game costs nothing.
1. It requires coal/chalk to draw a playing court.
2. A square/ round piece of flat stone, not bigger than 4inches/10cm.
3. Ground-  flat ground, to draw the grid. Or sand & a stick to draw grids.
4. Players - Individual child plays this game for pastime & fun. Two or more players
can play the game. Commonly, three to five players play the game. Girls of six to
twelve commonly play this game.

Instructions:
1. One of the participants draws a playing court on a flat surface (usually the floor of alleys ) with the help of a piece of coal or chalk.
 A ladder shape pattern is drawn on the floor and every box is numbered from one to six or sometimes one to eight or ten.
2. The court's size depends upon the participants' wishes and may thus vary greatly. For example, if all the participants agree to have
a court of eight boxes  two by four feet (0.61 by 1.22 m) each, that constitutes the playing court.
3. Once the playing court is ready, each participant takes turn.
4. Initially, the player stands backward at one side of the court and throws the stone blindly over her head so that it may land inside
the farthest box of the court.
5. If it lands successfully inside the designated box (without touching any lines) of the court, the player stands  barefoot  near that piece
of stone with one foot in the air.

Control + C lick on image to watch a video.
https://drive.google.com/file/d/1BmwLwfex2t8 -
zdd73jb5Bj4TIjq -RkJp/view
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 6. She pushes the stone (in a single try) to attempt to slide it into the adjoining box. If successful (once again without touch ing any
of the lines), then the player carries on doing the same until the piece of stone is successfully out of the court and the player
is back at the place from where she threw the stone.
7. Once successfully out of the court, the player may stand on both feet.
8. Consequently, the player's turn prematurely ends when the player can no longer stand on one foot and both feet touch the cour t,
or stone touches the line, on the line, or out of the court.
Cultural Links:
https://www.dsource.in/resource/indian- games/outdoor -games/stapoo

Learning Outcome:
1. It improves balance, coordination of eyes and legs, & strength of legs.
2. It imparts social skills for dispute resolution, negotiations & coordination.
3. It improves guessing skills & counting skills.
Adult Role:
Children play the game on their own.

Traditional Indian Game s – Dr. Swati Kela           World Forum On Early Care and Education -  Vancouver, April 2024                  12 | Page
 6] SAGARGOTE
Name of Game:  Sagargote/Gajage/Pacheta/Five Stone.
History Of Game:
 It is an ancient traditional game.
 It is a popular game among girls & women aged six & above.
 This game was played in each & every house 50 /55 years back.
Material Required:
Five stones or pebbles.  It is the fruit of one plant.  A minimum of five pebbles are needed.
Ground -  There is no specific requirement for ground. The game can be played anywhere in the house or outside the home.
Players: Children play in small groups of two to four players.
Instructions:
1. Players used to sit facing each other and play this game; if there are more girls, they sit in the
circle & play turn by turn clockwise.
2. Players spread the stones on the ground.
3. One stone should be thrown in the air and before, it comes down, pick up another stone on the ground and swing the high -flying stone.
4. If the stone falls while picking it up, the innings ends; otherwise, the first inning is called Erai,
the second inning is called Durkhai and the third one is Tirkhai, Chowkhai.
5. The second time one Sagargota is thrown high, the following two Sagargota should be picked up at once.  The first round ends.

6. Like this, it is played in various levels, which are sequential & predetermined by the players to suit the age levels.
7. The winner of the game is the first one that finishes all the game's levels.

Traditional Indian Game s – Dr. Swati Kela           World Forum On Early Care and Education -  Vancouver, April 2024                  13 | Page

Cultural Links:
 https://www.dsource.in/resource/indian -games/indoor -games/pacheta
Learning Outcome:
1. In this game, hands, fingers, and eyes exercise well.
2. It improves the catching skills.
3. It fosters motor skills.
 Adult Role:
Children play on their own.

Control +  Click on image to watch a video.
https://drive.google.com/file/d/1lSURsyf1g
-gJ9oDw05B -v-PUDB5i9_IQ/view
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 7] KABADDI
Game Name: Kabaddi/ Hututu
Country Of Origin:  India.
Game History:
Kabaddi  is a highly energetic and exciting sport invented in India.
1. Rononjoy Sen speculates in his book Nation At Play that it originated during the  Vedic period, between
    1500 BC and 500 BC. Lord Krishna and Gautam Buddha also played this game.
2. According to another version, it originated in Tamilnadu.
3. There are also accounts that it was played in Iran 2000 years ago.
4. First organized competition was held in 1920s.
5. In 1930, it was introduced in the Indian Olympic Games.
6. The game is Hadudu in Bangladesh, Baibalaa in the Maldives, Hututu in Maharashtra, Kaudi in Panjab,
    Kabadi or Sadugudu in Tamilnadu, Kapardi in Nepal, Chakgudu in Sri Lanka.

 Material Required:
 No special equipment or material is necessary for kabaddi.
 Kabaddi court for men is flat, rectangular, 13 meters wide and 10 meters long; for
women, it is 12 meters wide and 8 meters long. These are official measurements.
 While playing casually or time past with friends, there is no need for exact
measurements; only the ground must be flat, open, and rectangular.
 Lines & markings of the court are as follows - boundary line, play area line, midline,
balkline, and bonus line.
 Players - there are two teams of seven players each.
 Instructions:
1. The raiders should take a breath and repeatedly yell ‘kabaddi kabaddi’ without any break.
Kabaddi/ Hututu
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 2. The raider should tag a member of the opposite team and return to his half.
3. A player is ‘out ,’ when they break the breath or fail to tag the opponent team member.
4. 30 seconds are available for each raid.
5. If the raider fails to reach his half within time, he is out, and the opposite team gets
One point.
6. If the raider crosses the check line with one foot and the other one in the air when the
defending team has 6 or 7 defenders, the player gets a bonus point.
Cultural Links:
https://www.wikihow.com/Play -Kabaddi

Learning Outcome:
1. It improves coordination between various body parts.
2. It fosters quick and fast moves.
3. It enhances flexibility.
4. It improves breathing and physical strength.
5. It improves offensive and defensive skills and decision -making power.

Traditional Indian Game s – Dr. Swati Kela           World Forum On Early Care and Education -  Vancouver, April 2024                  16 | Page
 8] MALLAKHAMB
Game Name:  Mallakhamb / Pole Yoga / Pole Dancing
Mallakhamb is a form of ancient martial arts intended as a training aid for wrestlers and  warriors.
Origin of Game:  India.

History of Game:
Mallakhamb is an ancient traditional Indian sport. Malla means gymnast/ wrestler, and  khamb means pole.
So, it stands for a gymnast ’s pole. In the Ramayana and in the Buddhist  Chinese pilgrims to India, there are
some references to some form of Mallakhamb. The game originated in the 12th century. In the 19th century,
Peshwa Bajirao sports and fitness instructor, Balambhatta Dada Deodhar, revived the game. Maratha empire
figers like Rani  Lakshmibai, the Rani of Jhansi, Tantia tope, Nana Saheb Peshwa practised Mallakhamb.

 Mallakhamb was demonstrated at the 1936 Summer  Olympics.
 In 1958, competitive Mallakhamb first appeared at the National Gymnastics  Championships.
Material Required:
1. There are three variations of Mallakhamb -
 Pole Mallakhamb
 Hanging Mallakhamb
 Rope Mallakhamb
 Both men and women practiced all variations.
 Pole Mallakhamb --A vertical wooden pole made of teak wood or sheesham, of 2.6  meters in height with a
circumference of 55 centimeters at the base and gradually tapers to 35 centimeters at the top and is fixed to the ground
and smoothened with castor oil, which helps to minimize excessive friction.
 Hanging Mallakhamb--  It is a smaller version of fixed Mallakhamb. It is suspended  with the aid of hooks and chains.
The bottom of the pole doesn’t  touch the ground.
 The swinging and revolving motion makes it quite difficult.
 Rope Mallakhamb-  A thick rope is suspended vertically, 5.5 meters long, and 2centimeters in diameter.
 Players - One or more players can perform on the same pole or rope.
Mallakhamb

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Instructions:
Both men and women practiced all variations.
1. The first step of Mallakhamb is to familiarise your body to the pole/ rope and trust it.
2. First, use the toe to secure your stand and pull yourself up using your arms and core  muscles.
3. The player/ gymnast performs aerial yoga postures, different positions, and exercises and  holds their
positions longer.
4. Before beginning Rope Mllakhamb, warming up the body muscles is necessary.
4. Training and practice are necessary to perform this sport. It is essential to take safety  precautions.
5. It is essential to do it slowly at first.
6. It is a strenuous kind of workout that may exhaust the body, so rest days are essential.
7. While performing this sport, it is essential to maintain the body ’s hydration.
Cultural Links:
1) https://en.m.wikipedia.org/wiki/Mallakhamba
2) https://www.linkedin.com/pulse/rope -mallakhamb -traditional- sport -improves -your-overall -
fitness?utm_source=share&utm_medium=member_android&utm_campaign=share_via
Learning Outcomes:
1. It is a fantastic workout for strengthening. It helps in developing core strength.
2. It enhances flexibility, particularly in the shoulders and the back.
3. It enhances balance and general coordination.
4. It builds endurance and enhances general stamina.
5. It increases concentration.
Adult Role :
  The adult role is significant. The tricks and techniques and practice in the trainer ’s presence are essential.

Traditional Indian Game s – Dr. Swati Kela           World Forum On Early Care and Education -  Vancouver, April 2024                  18 | Page
 9] CHAUPAR/ CHAUPAT
Name of Game: Chaupar/ Chaupat/ Chopad/ Chaupad/ Pachisi
It is a cross and circle board game. The word Chaupar is composed of two Sanskrit words, Chau and Para. Chaur means four and Para means pata/ cloth board,
which forms four arms of playing surface. The board is made of wool or cloth, with wooden pawns and s even cowry shells. Unlike cowry shells in ancient times,
the three long dice had four sides.
Origin of Game: India.

History of Game:
 For centuries, people have played a similar version of the game. It was played on mediums like cloth, slate, and boards using tamarind seeds, pista shells,
groundnut shells, staves, or dice.
 The exact origins of this game are uncertain.
 In the Vedic Era, in Rug -Veda and Atharv -Veda, gambling with dice is mentioned. They used Vibhitak tree nuts for dice. The great epic Mahabharata
contains a dice game called Chaupar played between King Duryodhan and Yudhishthir, whose families were in conf lict.
 It is also found in the 3rd millennium B.C. in the Indus Valley Harappan.
 The size and shape of dice changed gradually, generally rectangular, occasionally triangular and variously
marked with numbers.
 Cubical dice are known in antiquity outside of India, for example, Tepe Gawra in Mesopotamia and Tellel'Amarna in Egypt.
 Gautam Buddha , while laying down rules in the text Vinaypitika, warns against playing the board game
Chausar.
 The visual reference occurred in one of the most adorned caves in Maharashtra, Ellora cave number 29, built
between the 6th and the 8th centuries CE; one wall is sculpted with figures of Shiva and Parvati, shown
enjoying a game Chausar.
 Mughal Emperor Akbar and Abul Fazal were addicted to this game. Richard Carnac Temple describes the game.
 During the 19th and 20th centuries, and even today, it was a more popular indoor fun game for women and children.
 This game is the ancestor of the modern game, Ludo.
 The USA and Europe sold the game in the 1860s.
Material Required:
 The board of any material, wooden or embroidered cloth, in the shape of a cross, each arm is divided into three adjacent columns of eight squares.
Chaurpar
Traditional Indian Game s – Dr. Swati Kela           World Forum On Early Care and Education -  Vancouver, April 2024                  19 | Page
 All 7 facing down – 7 points
1 facing up, 6 facing down – 10 points
2 facing up, 5 facing down – 2 points
3 facing up, 4 facing down – 3 points  4 facing up, 3 facing down – 4 points
5 facing up, 2 facing down – 25 points
6 facing up, 1 facing down – 30 points
All 7 facing up – 14 points   Three squares on each arm are highlighted with a cross or some other distinguishing mark - the middle square at the end of each arm and the fourth square
from the end of the arm on either side. These squares are called castles. The middle of the cross form s a large square called the Charkoni.
 Sixteen beehive -shaped pieces (songati/ men) are used: four in black, four in green, four in red, and four in yellow.
 Six small cowry shells.
 A maximum of four players play this game, each sitting in front of an arm of the cross. The center of the cross is ghar or ho me.
Instructions:
 The starting point for each player is the flower motif on the column to the left of their home column.
 To start, each player takes turns throwing the cowry shells. The player with the highest score starts first.
 Each player must enter four men into the game from the starting point. The men travel around the outer perimeter columns in a n anti -clockwise direction.
 Before a player can bring any of his men home, he has to knock out at least one man of another player. This is called a tohd. Only the player's own men
can enter the home column of each player. Once the men cross the flower motif, they are played by laying the pieces on their side to indicate they are in
their final home stretch and are safe now from any further attack.
 A score of 25 points - All seven cowry shells are used in each throw. In one version, scoring is as follows:

Cultural Links:
1. https://en.m.wikipedia.org/wiki/Chaupar
2. https://www.mastersofgames.com/rules/pachisi -rules.htm

Learning Outcome:

In adults, this game reduces the risk of Alzheimer's or Dementia and improves self -confidence.
Adult Role:
Adult interference is unnecessary when children play the game for fun and pastime.
  1. It fosters numeracy skills.
2. It improves concentration.
3. It builds motor skills
4. Kids learn to identify colours.
 5. Kids improve hand -eye coordination.
6. Children can learn to hold conversations and negotiate
7. It builds memory, logic, and reasoning.
8. It boosts brain power.
Traditional Indian Game s – Dr. Swati Kela           World Forum On Early Care and Education -  Vancouver, April 2024                  20 | Page
 10] LATTOO
Name of Game:  Latto/ Spinning Top/ Bhanvara/ Latu
Origin of Game: India
Lattoo or Spinning Top is the most popular Indian traditional game among children in rural areas. The game is evergreen and e xciting for generations.
This game is pretty simple to play if one has the right skills.

History of Game:
 It is one of the oldest recognizable toys found on archaeological  sites. All over the world, it originates independently in cultures.
 Ancient Roman wooden spinning top, from Tebtynis (Egypt), dating from the 1st –3rd century CE.

Material required:
 The tops were made of clay earlier and later replaced with wood/plastic. However, with technological advancement,
one can find many different varieties and colours  of tops today in the market. Some are with lights and sound effects.
 A nail - the wooden top is mounted on the nail.
 A string - to spin the top and also pick the top the string is used.
 The string is tied across the top.
 Players - can be played alone or in groups.
Instructions:
  There are various modifications & techniques associated with this simple -looking yet scientific game, like, lifting the
moving top off with the string, rolling the top on the string, and many more.
 There are no set rules. A group of kids decide the rules.
 Smaller tops have a short stem and are set in motion by twirling it using the fingers. A  thumbtack may also be made
to spin on its tip similarly.
 They may be set in motion by twirling a handle with the fingers, by pulling a  rope  coiled around the body,
or using a built -in auger.

Control + Click image to watch a video
https://drive.google.com/file/d/1P27yhx
mBz --1g41jqGxBiImdRthF1orj/view
Traditional Indian Game s – Dr. Swati Kela           World Forum On Early Care and Education -  Vancouver, April 2024                  21 | Page

 Physics in the game:
 A spinning top, or simply a  top, is a toy with a squat body and a sharp point at the bottom, designed to be  spun  on its vertical axis,
balancing on the tip due to the gyroscopic effect. Once set in motion, a top will usually wobble  for a few seconds, spin upright for a
while, then wobble again with increasing amplitude as it loses energy, and finally tip over and roll on its side. The motion of a top is
described by equations of  rigid body dynamics, specifically the theory of  rotating rigid bodies. Because of the small contact area
between the tip and the underlying surface and the large  rotational inertia  of its body, a top that is started on a hard surface will usually
keep spinning for tens of seconds or more, even without additional energy input. Typically, the top will wobble until  friction  and
torque  between the tip and the underlying surface force it to spin with the axis steady and upright. The total spinning time of a top
is generally increased by increasing its moment of inertia  and lowering its  center of gravity .
 Cultural Links:
1. https://natkhatduniya.in/lattu -the-indian- traditional -spinning- top-toy/

2. https://en.m.wikipedia.org/wiki/Top
3. https://www.teachermagazine.com/in_en/articles/using -toys-to-improve -learning
4. https://www.momjunction.com/articles/top -traditional -indian -games- list_00687698/
 Learning Outcomes:
 It improves concentration.
 It fosters hand -eye coordination.
 Children can understand Physics concepts.

Adult Role:
   No need for adults. Children learn themselves while playing.


Category: mahabharata
Content: 2013 novel by Christopher C.

Doyle The Mahabharata Secret Author Christopher C.

Doyle Cover artist Ritu Rathour Anand Prakash Language English Genre Fiction Publisher Om Books Publication date 21 October 2013 Publication place India Media type Paperback Kindle Pages 386 ISBN 9-789383-202317 The Mahabharata Secret is the debut novel by Indian author Christopher C.

Doyle and was released on 21 October 2013 by Om Books.

The story follows Vijay and his friends, as they try to decipher a series of clues which would lead them to a devastating Secret hidden by a brotherhood known as the Nine Men.

Doyle had initially started writing a story for his daughter, which gradually expanded into the book.

The author was primarily inspired by the Indian epic Mahabharata , believing its events to be based on scientific facts.

The book was followed by Doyle's second novel, The Mahabharata Quest: The Alexander Secret , which is the first book in a planned trilogy of sequels.

Doyle believes in the possibility of the existence of a secret history which was probably not recorded in antiquity.

While researching he also came across legends prevalent about King Ashoka and linked the story with him.

Following its release, The Mahabharata Secret was a commercial success, which enabled the author to get signed for further thriller novels based on the subject matter and was also nominated for the 2014 Crossword Book Award .

Plot synopsis [ edit ] In 244 BC, Indian emperor Ashoka finds a hilly cave with an astonishing secret.

Believing it could destroy the world, he creates a secret brotherhood of Nine Men, who would guard the cave's contents through the centuries.

He also removed the Vimana Parva chapter of the Indian epic, Mahabharata , from its written transcripts.

In present day, Vikram Singh, an Indian nuclear scientist, is murdered at his fort in Jaungarh.

Before his death he sent four cryptic emails to his nephew Vijay, who with his business partner Colin, childhood friend Radha and her father, linguist Dr.

Shukla, start analyzing it.

They are aided by Bheem Singh, current owner of Rajvirgarh fort and Greg White, an archaeologist mentioned in Vikram's emails.

The group deduce that the emails refer to the Nine Men and their secret, which can be revealed by using a metal disc, a key, a ball of rock and a riddle.

Their mission is interrupted by a man called Farooq, a Lashkar-e-Taiba (LeT) militant.

The group find that the metal disc and the key together point to the Edicts of Ashoka .

They travel to Bairat and find a hidden library of the Nine, but are imprisoned inside by Farooq and his men.

The group find an alternate route and the ball of rock.

The Barabar Caves , location of the second inscribed ball.

In the meantime, Intelligence Bureau (IB) official Imran Kidwai gets information about Farooq and starts investigating.

Vijay and his friends travel to the Barabar Caves in Bihar after interpreting a clue in Bairat.

Inside the caves they unearth another such ball with inscriptions on it.

However, Vijay and Radha are kidnapped by Farooq.

Imran suspects Bheem Singh and investigates in his basement, but gets caught.

Bheem explains that the Vimana Parva of the Mahabharata spoke about ancient arsenal which could be made invisible by covering them with an undisclosed element, thus making them fatal.

This was what the Nine tried to protect.

Imran understands that Bheem was allied with Farooq and were trying to discover the secret location of the weapons.

In an ensuing conflict, Bheem's attack on Imran backfires and he himself is killed.

Farooq had given 48 hours time to Vijay's friends to decipher the meaning of the final clue in the ball.

They unearth the final secret to be at Hazaribagh , atop a hill called Marang Buru .

Farooq and his men escape with Vijay on being notified of Imran's advance, leaving Radha behind.

As the whole group reaches Marang Buru, there it is revealed that Greg was actually an assassin employed by Farooq called Murphy, impersonating the real Greg White.

On Farooq's insistence, Vijay and Colin enter the hill and through numerous chambers reach the secret vault of the Nine.

There they discover the giant artillery, including the nuclear weapons.

Farooq and his henchmen start collecting the weapons, unaware that Imran and Indian commandos had surrounded them.

Colin, Shukla and Vijay are rescued and reunite with Radha, with Imran driving them away from Hazaribagh.

A mistimed grenade blasts the secret cavern, destroying the hillside and killing off Farooq and the others, thereby wiping out the Nine's secret.

A few days later, Vijay re-reads his uncle's e-mails and finds another clue, directing him to the vicinity of Jaungarh fort.

There he finds a secret chamber containing the documents belonging to the Nine, as well as important texts, scriptures and ancient artifacts.

A letter from his uncle reveals him as the last member of the Nine, and a request for Vijay to accept the guardianship of the documents.

Vijay accepts and becomes a member of the Nine Men.

Development [ edit ] Author Christopher C.

Doyle had studied Business Management from Indian Institute of Management Calcutta and runs a firm for training CEO and CXOs .

However, he always had a childhood weakness for fantasy novels, being inspired by authors like Jules Verne , H.

G.

Wells , J.

R.

R.

Tolkien as well as Robert Jordan .

One day he started writing a novel for his daughter, who was interested in stories based on fantasy and science.

However, as she grew older, she wanted a more mature story.

It was then that Doyle decided to expand the story and write it into a full novel.

He was inspired by a 1917 book he had read, The Hindu History by Akshay Majumdar, which wrote about an alternate history of India by combining legends and mythology.

Doyle was also intrigued by the Indian epic Mahabharata which translated into "this is what happened".

He thought about the basis of the epic in history and science and moved forward with his writing.

Two other books contributed to his inspiration and research, Fingerprints of the Gods by Graham Hancock and Uriel's Machine by Christopher Knight and Robert Lomas .

His reading led him to the conclusion that the Mahabharata might be true, and he stated that: And if the Mahabharata was true, then it was possible that some of the fantastic events described in the Mahabharata could have a scientific base as well, which no one has explored as of now.

This fascinating thought lingered in my mind and propelled me to explore this aspect further.

So that's really how history, mythology and science came together.

Doyle researched the legends surrounding King Ashoka , including those of the Nine Men, and Ashoka's alleged suppression of science.

Doyle says he used such legends to develop a plot about the brotherhood of the Nine, setting it between 200 BC and 500 BC.

Doyle visited The Asiatic Society in Kolkata to review material on Ashoka and emperor's edicts that are preserved there.

Doyle stated that it took him two years to finalize and complete The Mahabharata Secret .

According to Doyle, the fictional weapon in the book "used a totally different scientific concept which I had to build from scratch.

The use of hard core science and accepted scientific fact to explain mythology was something that makes my books different".

Release and reception [ edit ] The Mahabharata Secret was released by Om Books on 21 October 2013.

Following its release, the book was a commercial success, selling over 100,000 copies within two years.

It was nominated for the 2014 Crossword Book Award with Vivek Tejuja of Scroll.in giving a positive feedback, comparing the novel with that of author Dan Brown 's The Da Vinci Code (2003), and adding "A suspense thriller served with large helpings of history makes for a good in-flight read." Seeing the success of the book, Westland Publishers signed Doyle to write a thriller trilogy inspired by the Mahabharata .

The Mahabharata Quest: The Alexander Secret , Doyle's second novel and the first in the planned trilogy, was released in October 2014.

See also [ edit ] India portal Religion portal Mythology portal Nuclear technology portal Ashokavadana Ashoka's Major Rock Edicts Bhagavad Gita Cloaking device The Emperor's Riddles Edicts of Ashoka Metamaterial cloaking Pillars of Ashoka The Nine Unknown References [ edit ] ^ The Mahabharata Secret , 2013, p.

2 ^ Barooah Pisharoty, Sangeeta (26 November 2014).

"A Taste of Legends" .

The Hindu .

Retrieved 6 July 2015 .

^ "Christopher Doyle's Mahabharata Quest" .

Domain Business.

15 December 2014 .

Retrieved 6 July 2015 .

^ Sripathi, Apoorva (28 November 2014).

"Even Gods Have Problems" .

The Hindu .

Retrieved 6 July 2015 .

^ Vijayan, Naveena (1 December 2014).

"Doyle and his 'Secret' Quest" .

The New Indian Express .

Archived from the original on 10 July 2015 .

Retrieved 6 July 2015 .

^ Venkatesh, M (19 August 2016).

"Readers in India still prefer paper to pixels: Christopher Doyle" .

Mint .

Retrieved 5 September 2016 .

^ Christopher C.

Doyle (Author).

Buy The Mahabharata Secret Book Online at Low Prices in India | The Mahabharata Secret Reviews & Ratings .

ASIN 9383202319 .

{{ cite book }} : |author= has generic name ( help ) ^ Mishra, Mayank (7 March 2015).

"Turning a new leaf: Engineer-MBA's romance with popular fiction" .

Business Standard .

Retrieved 6 July 2015 .

^ Tejuja, Vivek (23 March 2015).

"14 books shortlisted for the Crossword Popular Choice award" .

Scroll.in .

Retrieved 6 July 2015 .

^ "Westland ropes in 'The Mahabharata Secret' author for thriller trilogy" .

Zee News .

29 May 2014 .

Retrieved 6 July 2015 .

External links [ edit ] Official website The Mahabharata Secret trailer (Aug 28, 2013) on YouTube Retrieved from " https://en.wikipedia.org/w/index.php?title=The_Mahabharata_Secret&oldid=1227597331 "