house essay in gujarati language

ગુજરાતી વિશ્વકોશ

સ્થાપના ૧૯૮૫, ગુજરાતી કીબોર્ડ સ્થાપિત કરવા માટે અહીં ક્લિક કરો.

વિશ્વકોશ ખંડસૂચિ

અઇયોળનાં મંદિરોથી

આદિવાસી સમાજ

આદિવિષ્ણુથી ઈલાઇટિસ

ઈલેટિનેસીથી ઔરંગઝેબ

ઔરંગાથી કાંસું

કિઓન્જારથી ક્રિમોના

ગુજરાતી ભાષા, સાહિત્ય અને સંસ્કૃતિના સંવર્ધનનું કાર્ય કરતા ગુજરાત વિશ્વકોશ ટ્રસ્ટ(અમદાવાદ)ની પ્રવૃત્તિનો પ્રારંભ થયો. ગુજરાતી ભાષામાં સર્વપ્રથમ ગુજરાતી વિશ્વકોશ(encyclopedia)ની રચનાના 1985ની 2જી ડિસેમ્બરે એના મુખ્ય સંપાદક ધીરુભાઈ ઠાકર ની પ્રેરણા અને માર્ગદર્શનથી તથા  કુમારપાળ દેસાઈ જેવા સાથીમિત્રોથી આરંભાયો.

24 વર્ષના પુરુષાર્થથી ગુજરાતી વિશ્વકોશના 25 ગ્રંથોના 'અ'થી 'હ' સુધીના 26,000 પૃષ્ઠોમાં માનવવિદ્યાના 8,360, વિજ્ઞાનના 8,083, સમાજવિદ્યાના 7,640 - એમ કુલ 24,083 અધિકરણો (લખાણો) સમાવેશ પામ્યાં છે. જેમાં 11,660 ચિત્રો અને આકૃતિઓ, 7,647 લઘુચરિત્રો, 563 વ્યાપ્તિ-લેખો અને 246 અનૂદિત લેખોનો સમાવેશ થાય છે. આશરે 1,593 જેટલા લેખકો દ્વારા આ લખાણો તૈયાર થયાં છે. 1,73,50,000 જેટલી શબ્દસંખ્યા ધરાવતો ગુજરાતી ભાષાનો આ સર્વપ્રથમ વિશ્વકોશ છે.

ગુજરાતી ભાષામાં પ્રથમવાર તૈયાર થયેલો સર્વસંગ્રાહક વિશ્વકોશ (General Encyclopedia)

એક હજાર પાનાંનો એક એવા પચીસ ગ્રંથોની શ્રેણી.

ગુજરાતની અસ્મિતાને ઉપસાવી આપતો ગુજરાતી ભાષા, સાહિત્ય, સંસ્કૃતિ, વિજ્ઞાન, વાણિજ્ય, ટૅક્નૉલૉજી, ઉદ્યોગ, વિશિષ્ટ વ્યક્તિઓ, સંસ્થાઓ અને ગુજરાતી પ્રજાની તમામ ક્ષેત્રની પ્રવૃત્તિઓનો વિગતસમૃદ્ધ રસપૂર્ણ અધિકૃત પરિચય.

નિષ્ણાતો દ્વારા લખાયેલા સ્વતંત્ર લેખો રૂપે વિશ્વ વિશે, ભારત વિશે અને ગુજરાતી વિશેની અદ્યતન તેમજ પ્રમાણભૂત માહિતી.

અઢી કરોડ રૂપિયાના ખર્ચે તૈયાર થયેલી આ ગ્રંથશ્રેણી વિદેશમાં વસતા ગુજરાતી સમાજ માટે મૂલ્યવાન સંસ્કારરક્ષક જ્ઞાનસાધનની ગરજ સારે છે.

ગુજરાતી વિશ્વકોશના પ્રથમ નવ ખંડની નવસંસ્કરણ ધરાવતી, અદ્યતન માહિતી સાથે તૈયાર થયેલી બીજી આવૃત્તિમાં વિગતોનો સમાવેશ.

ગુજરાતી વિશ્વકોશ એક ઝાંખી

ભાગ 1 થી 25

1987 થી 2009 : 22 વર્ષમાં ગુજરાતી વિશ્વકોશના 25 ગ્રંથોનું પ્રકાશન

24,083 અધિકરણો 8,360 માનવવિદ્યા 8,083 વિજ્ઞાન 7,640 સમાજવિદ્યા 7,647 લઘુચરિત્રો 563 વ્યાપ્તિલેખો 246 અનૂદિત લેખો 11,660 ચિત્રો અને આકૃતિઓ 1,593 જેટલા લેખકો દ્વારા તૈયાર થયેલાં લખાણો 170 જેટલાં વિષયો

1,73,50,000 જેટલી શબ્દસંખ્યા ધરાવતો ગુજરાતી ભાષાનો સર્વપ્રથમ વિશ્વકોશ

ભૂમિકાખંડ 1985થી 1987 : જેમાં સમગ્ર વિશ્વકોશમાં આવરી લેનારા 169 વિષયોની સૂચિ તથા વિષયવાર વિષયનિષ્ણાતોની સમિતિ અને વિગતો આપવામાં આવી છે.

આવશ્યક સ્પષ્ટતા

1985ની બીજી ડિસેમ્બરે ગુજરાત વિશ્વકોશ ટ્રસ્ટની સ્થાપના થઈ અને ગુજરાતી ભાષામાં વિશ્વકોશનું સર્જન કરવાની કામગીરીની શરૂઆત થઈ. 22 વર્ષમાં ‘અ’થી ‘હ’ સુધીના તમામ મૂળાક્ષરો ધરાવતાં ગુજરાતી વિશ્વકોશના 25 ગ્રંથોનું પ્રકાશન થયું. એ પછી તો વિશ્વકોશની યાત્રા વિશેષ આગળ ચાલી અને એના દ્વારા ‘બાળવિશ્વકોશ’ અને ‘પરિભાષાકોશ’ તૈયાર થયા અને ‘બૃહદ્ નાટ્યકોશ’, ‘નારીકોશ’ અને ‘વિજ્ઞાનકોશ’ જેવાં કોશ તૈયાર થઈ રહ્યાં છે. પુસ્તકો અને સામયિકના પ્રકાશન ઉપરાંત વ્યાખ્યાનશ્રેણી પણ ચાલે છે.

ગુજરાતી વિશ્વકોશનું પ્રકાશન થયા બાદ એનાં બે કે ત્રણ પુનઃસંસ્કરણ થયાં છે અને એના પુનઃસંસ્કરણમાં જરૂરી ઉમેરાઓ પણ કર્યા છે. જે તે વિશ્વકોશની રચના પછી ફરીવાર એનું પ્રકાશન થતી વેળાએ એનું પુનઃસંસ્કરણ થતાં વચ્ચે ઘણાં વર્ષોનો ગાળો વીતી જાય તે સ્વાભાવિક છે. આથી વિશ્વકોશની અહીં પ્રસ્તુત કરેલી માહિતીમાં કેટલીક માહિતી થોડા સમય અગાઉની હોય તે સ્વાભાવિક છે અને તેથી દરેક અધિકરણની ઉપર જે વર્ષમાં વિશ્વકોશનું પ્રકાશન થયું તેનું વર્ષ લખેલું છે. વિશ્વકોશના પચ્ચીસે ગ્રંથો ઑનલાઇન ઉપલબ્ધ થાય તે અમારું પહેલું કાર્ય સિદ્ધ કરવાનો પ્રયાસ કરી રહ્યાં છીએ અને એ પછી વિશ્વકોશનાં જુદાં જુદાં તજ્જ્ઞો દ્વારા એમાં જરૂરી શુદ્ધિ-વૃદ્ધિ કે સંવર્ધન કરવામાં આવશે. આથી ખાસ એ વિગત પર લક્ષ આપશો કે જે વર્ષ લખ્યું છે તે વર્ષ સુધીની માહિતી ઉપલબ્ધ થશે. આ માહિતીનો આપ ઉપયોગ કરો, તો ગુજરાત વિશ્વકોશ ટ્રસ્ટના સૌજન્યનો ઉલ્લેખ કરશો.

આ સંદર્ભમાં કોઈ વિશેષ જાણકારી જોઈતી હોય તો વિશ્વકોશના ઈ-મેઇલ [email protected] પર આપ જણાવી શકો છો. આશા રાખીએ છીએ કે ગુજરાતી ભાષી વિદ્યાર્થીઓ, અભ્યાસીઓ અને વિદ્વદ્જનો આધુનિક ઑનલાઇન સ્વરૂપે મળતી આ માહિતીની પ્રાપ્તિ વધુ સરળ અને સુલભ બનશે.

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• પરિશ્રમ એ જ પારસમણિ વિશે નિબંધ,
• જીવનમાં શ્રમનું મહત્તવ
• જીવનમાં શ્રમનું મહત્તવ વિશે નિબંધ ગુજરાતીમાં,
• Prishram Ej Parasmani Nibandh Gujarati
• Prishram Ej Parasmani Essay in Gujarati

નીચે આપેલ એક કરમાયેલા ફૂલની આત્મકથા વિશે ગુજરાતીમાં 200 શબ્દોમાં નિબંધ ધોરણ 10 , 11 અને 12 માટે ઉપયોગી થશે.

પરિશ્રમ એ જ પારસમણિ / જીવનમાં શ્રમનું મહત્તવ નિબંધ :

• પ્રસ્તાવના
• પરિશ્રમ 
• મજૂરી નહીં જાતમહેનત
• શરીર અને શ્રમ 
• ઉપસંહાર

નીચે આપેલ પરિશ્રમ એ જ પારસમણિ વિશે ગુજરાતીમાં 150   શબ્દોમાં નિબંધ ધોરણ 6 , 7 અને 8 માટે ઉપયોગી થશે.

શ્રમનું ગૌરવ / પરિશ્રમ એ જ પારસમિણ નિબંધ : ધોરણ 6 થી 10 

• શ્રમના પ્રકાર
• શ્રમ પ્રત્યે લોકોનું વલણ
• શ્રમના લાભ
• નિષ્ફળતા વખતે પણ શ્રમ જરૂરી
• શિક્ષિત સમાજનું વલણ

નીચે આપેલ પરિશ્રમ એ જ પારસમણિ વિશે ગુજરાતીમાં 100   શબ્દોમાં નિબંધ ધોરણ 3, 4 અને 5 માટે ઉપયોગી થશે.

પરિશ્રમ એ જ પારસમિણ નિબંધ : ધોરણ 3 થી 5 

• પરિશ્રમ એ જ પારસમણિ નિબંધ
• માતૃપ્રેમ / માં તે માં નિબંધ
• એક ફૂલની આત્મકથા ગુજરાતી નિબંધ
• ગુજરાતી તળપદા શબ્દો

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ભારતીય સંસ્ક્રુતિના પાયા

Essays on the value of Indian civilisation and culture. This volume consists of various essays: 'Is India Civilised?', 'A Rationalistic Critic on Indian Culture', 'Defence of Indian Culture', 'Indian Culture and External Influence' and 'The Renaissance in India'. They were first published in the monthly review Arya between 1918 and 1921.

• The Renaissance in India
• 1997 Edition
• The Foundations of Indian Culture
• 1972 Edition

•   ભારતીય સંસ્ક્રુતિના પાયા    ગુજરાતી
•   भारतीय संस्कृतीचा पाया    मराठी
•   Les Fondements de la culture indienne    Français
•   ভারতীয় সংস্কৃতির ভিত্তি    বাংলা

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Translations.

• SABCL > The Foundations of Indian Culture ગુજરાતી मराठी Français বাংলা

Essays on the value of Indian civilisation and culture.

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Useful phrases in Gujarati

A collection of useful phrases in Gujarati, an Indo-Aryan language spoken in India, Bangladesh, Fiji and many other countries by about 46 million people.

Jump to phrases

See these phrases in any combination of two languages in the Phrase Finder . If you can provide recordings, corrections or additional translations, please contact me .

Key to abbreviatizns: frm = formal, inf = informal, m = said by men, f = said by women.

-->

English	ગુજરાતી (Gujarati)
	(padhaaro)
	(namaste)
	(tame kem chho) - sg (tamane kem chhe) - pl/frm (aapne kem chhe) - frm
Reply to 'How are you?'	(mane saru chhe) (hu maja ma chhu)
	(ghana vakhate dekhana) - frm (ghana samay thi dekhata nathi) - frm
	(taru naam su chhe) - sg/inf (tamaru naam su chhe? - pl/frm (aapnu naam su chhe)? - frm
	(maru naam ... chhe)
	(tame kyaan na chho)
	(hun ... no chhu) - m/sg (hun ... ni chhu) - f/sg અમે ... નાં છે (ame ... na chhe) - pl
	(tamne maline anand thaiyo)
	(suprabhat)
	(shubh sandhya) -
	(shubh ratri)
	(avjo) -
	(tamara nasib tamne saath aape) - (bhagyavaan bhavah) - >m/frm (bhagyavati bhavah) - >f/frm (shubhakamna) -
( )
	તમે શમજોછો? (Tamē śamajōchō?)
	(Mane samajanu) (Mane samajayu)
	(Mane samajatu nathi) (Mane samajan padti nathi)
	(Tame meherbani karine thodu dhime bolsho) (Tame meherbani karine thodu dhire bolsho) (Tame krupa karine thodu dhime bolsho) (Tame krupa karine thodu dhire bolsho)
	(Tame meherbani karine farithi bolsho) (Tame krupa karine farithi kehsho)
	(hu bolu te lakho) (hu lakhavu te lakho) (aa lakho)
Gujarati?	(shu tame gujarati bolo chho) (shu tame gujarati boli shako chho)
Yes, a little ( )	(ha, thodu ghanu)
Gujarati?	(... ne Gujarati m a shu kehvai)
	(maaf karjo) - (sambhadjo) -
	(aano su bhav chhe?)
	(manne maaf karo)
	(dhanyavaad) (aabhar)
Reply to thank you	(tamaarūṃ svaagata cha)
	(souchalay kyaan chhe)?
	(aa bhai tena rupiya aapi dese)
	(aa bahen tena rupiya aapi dese)
	(tame mari sathe dance karso?)
	(hūṃ tane prem karū chūṃ)
	(jaldi thik thai jaav tevi shubhkamna)
	(mane eklo chhodi do!)
	(madad karo!)
	(aag!)
	(thobho!)
	(police ne bolavo!)
	(sāl mūbārak)
Happy Diwali	(diwali mūbaarak)
	(janm din mūbaarak)
	અભિનંદન! (Abhinandana!)
	(ek bhasha kyarey pan purti nathi)
	(mari bhamti hodi eel machhalio thi bhareli chhe)

Corrections by Aalok Thakkar. Recordings by Saumil Soni and Sweetu Shah, and edited by Moshe Ash.

Download the audio files (Zip format, 1.7MB)

If you would like to make any corrections or additions to this page, or if you can provide recordings, please contact me .

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Gujarati Culture, Dress and Food - The Heart and Soul of Gujarat

The diverse and vibrant state of Gujarat has a significant contribution to the cultural aspect of India. The sheer simplicity and amiability of Gujaratis have made them a flourishing community. The state of Gujarat boasts a vibrant art, architecture, culture, and heritage; all of which is quite evident in the day-to-day lives of the locals. The diversity exhibited by Gujarat is a result of the various ethnic groups constituting Gujarat's population; including Indic and Dravidian groups. 

1. Art and Culture of Gujarat

Dance Forms 

• Dandiya Raas is performed by both men and women and utilizes the movement of bamboo sticks, known as Dandiyas. It has ancient roots and was believed to be played by the beloved Gopis of Lord Krishna.
• Garba is usually performed by the females in a circular formation. It is performed with reverence of the feminine form of the divinity.
• Garbi is traditionally performed by only the men and incorporates the use of instruments like dhol and manjiras.
• Padhar is mainly performed by the rural communities near Nal Lake.

2. Customs and Traditions of Gujarat

3. languages and religions.

• Although Gujarati is the mother tongue of the natives of Gujarat, many other languages are widely spoken throughout the state. Gujarati is an Indo-Aryan language derived from Sanskrit and is the 26th most widely used language in the world. Gujarati has about 11 different dialects, spoken in various parts of the state.
• Since the state of Gujarat shares its border with Maharashtra , Madhya Pradesh and Rajasthan ; a small section of its population speak the native languages of the neighbouring states, namely Marwari, Marathi, Hindi along with Urdu and Sindhi.
• The natives of Kutch-a semi-arid region in Gujarat-speaks Kachchi language, which is quite an important language of the area.

4. Fairs and Festivals

The fairs and festivals of Gujarat showcase the real vibrancy and colours of its diverse culture. Thousands of people flock to Gujarat to witness the extravaganza during festivals like Navratri Mahotsav, Deepawali, Rathyatra and Kite festival. There are some fairs as well that are organized in the state every year, namely- Shamlaji Melo, Bhadra Purnima Fair, and Mahadev Fair. The Rann Utsav is a major festival and witnesses an exquisite carnival of music, dance and natural beauty.

5. Food of Gujarat

A traditional and authentic Gujarati meal consists of dal, roti, rice, vegetables, salad, chaas, farsan followed by a sweet dish. Gujarati cuisine is quite similar to that of Maharashtra, and most of the Gujaratis are vegetarian. Some of the famous Gujarati delicacies include dhokla, fafda, khandvi, dhal Dhokli, Undhiyu, handvo, Ganthia, dal Wada, khakhra, and Thepla. In Gujarati dishes, the flavors are a blend of sweet, spicy and sour tastes. Each region of the state has a distinctive flavor associated with its local food. A typical Gujarati dinner includes bhakri-shak or khichdi-kadhi. The Gujaratis are noted for their sweet tongue, and hence every meal is followed by a sweet dish or sometimes even jaggery.

6. Cultural Dresses of Gujarat

• Patola Silk or popularly known as 'Queen of all silks' forms a major part of traditional Gujarati attire. Gujarati brides are adorned with silk and zari woven sarees of Gharchola and Panetar.
• The traditional attires often incorporate tie-dye or traditional block prints.
• The region of Kutch has a distinctive traditional outfit adorned by women known as Abhas. Chania Cholis are a popular choice of outfit during the festive season of Navratri Mahotsav.
• Men also wear unique attire known as Kediya dress during the Navratri season.
• A prevalent Gujarati trend is the silver Pachchikam jewellery that originated in Kutch.
• 7. Gujarati Engagement and Wedding Ceremony

Engagement Ceremony

Wedding ceremony.

The wedding ceremony in the Gujarati culture is probably the most awaited event for the couple and its family but for all the guests as well. Like every Indian wedding, the rituals go back to the Vedic times, and the ceremonies kick off with the ( Varghodo ) wedding procession, that goes from the groom's house to the bride's house where the ceremonies take place. On arrival, the groom is welcomed by the bride's family ( Swagatam ) after which the bride's father performs a ritual involves him handing over his daughter to the groom ( Kanya Daan ) in front of the guest. After this, the rituals ( Ganesh Puja ) commences, this is known as the Vivaan. During the Vivaan, the couple performs the Mangal Phera where they go around the sacred fire and go through the most important part of the ritual, the Saptapadi or the seven sacred steps. The religious part of the ceremony comes to a close with the holy thread ( Mangalsutra ) being tied around the neck of the bride by the groom and he places the red dot ( tika ) on the wife's forehead, as a declaration of her new married status (Suhaag). The ceremony comes to a close when the couple goes to the groom's parents who will bless the couple ( Aashirvaad ).

8. Gujarati Cinema

This post was published by Shelly Mehandiratta

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Translating Gujarat: On Raising Visibility and Sharing Literary Wealth

Gujarat boasts a vibrantly active and industrious 24% of India’s overall seacoast. At 1,600 kilometers, this is the longest coastline of all Indian states and, since ancient times, has invited an unceasing influx of travelers, traders, and warriors from all over the world. The region connects with present-day Afghanistan and Pakistan via northbound land routes through the Sindh desert and what is presently known as Rajasthan. Its eastern mainland adjoins the rest of northern and central India. And in the south, it neighbors agriculturally productive and highly industrialized towns and cities like present-day, cosmopolitan Mumbai. The state’s topography is also filled with extremes and contrasts, from the salt deserts and marshes of Kutch in the northwest to the arid and semiarid scrublands of the western Kathiawad peninsula to the forested mountains and fertile plains in the southeast. Frequented by migratory tribes and clans of pastoralist warriors, pilgrims, and traders, these age-old routes and vastly diverse ecologies have allowed for a fascinating hybridization of cultures and languages from all around the country and the world. Even the name Gujarat originates from a tribal dynasty, the Gurjara-Pratiharas, who came from the north in the mid-eighth century to defeat the local rulers and rule the region along with much of northern India.

Given all of the above, the Gujarati language has never been a discrete or stable entity despite the pre-Independence attempts by British colonial officers, Gandhi, and other Indian nationalist leaders to codify it as such. As scholars like Riho Isaka, Samira Sheikh, Sitanshu Yashaschandra, Rita Kothari, Aparna Kapadia, et al. have proved, the language is a richly complex linguistic system without fixed boundaries that has evolved through centuries of economic, political, and cultural interactions between speakers of Sanskrit, Prakrit, Gujari, Arabic, Persian, Turkish, Portuguese, Dutch, Urdu, Sindhi, Hindi, and more.

This plurality enabled the flourishing of numerous ethnolinguistic identities within the region, which, in turn, have engendered diverse literatures and cultural artifacts through the centuries. Arguably, though, Gujarat had its major literary renaissance in the late 1800s. In part, this was due to cross-pollination with the growing number of literary translations from English and other Indian and European languages. And, in part, it was due to a sociopolitical awakening among Gujarat’s literati—most of whom were educated elites—driven by anti-colonialism, nationalism, and the independence movement. Both of these factors led to a profuse blossoming of the modern Gujarati short story, groundbreaking first novels and memoirs, literary criticism approached as a rigorous art form in itself, travelogues that became established as a literary genre, and modern poetic forms that deviated from all previous traditions. Writers, poets, critics, and dramatists like Dalpat, Narmad, Nilkanth Sr., Navalram Pandya, Nandshankar Mehta, and others led the initial charge.

During this pre-Independence peak era of literary output, the historical novel genre became notably dominant because it also grappled with identity-building, a sense of nationalism, and state formation. Gujarati historical novels of this time are, in themselves, sources of history—beyond the stories they contained, they were also modes of collective consciousness, social reform, and earnest attempts to transcend history itself. This pre-Independence rise of Gujarati historical fiction was deeply influenced by the likes of Scott, Tolstoy, Cervantes, and others. The first-ever Gujarati novel, Nandshankar Mehta’s Karan Ghelo, published in 1866, was historical fiction. Next came the canonical, near-historical novel quartet Sarasvatichandra,  by Govardhanram Madhavram Tripathi, published from 1887 to 1901. With over 150 characters and 2,000 pages, its length surpassed Tolstoy’s War and Peace and it preceded Proust’s In Search of Lost Time . Writers like K. M. Munshi and Dhumketu published several historical fiction series set in pre-British India. Jhaverchand Meghani painstakingly collected ancient oral folklore from different regional communities into multi-volume works. Gunvantrai Acharya created swashbuckling tales of the nautical adventures of Gujaratis who traveled far and wide.

Yet, the first-ever English (or any language) translations of a handful of these works have only emerged in the last decade or so. The rest remain like faint memories of long-buried treasures despite the recovery and preservation efforts of a few stalwarts in every generation. In particular, many works remain unknown even to the Gujarati readership because they came from marginalized Gujarati communities—for example, the Parsi Gujarati community, which was much smaller than the Hindu majority but produced relatively more books at the time.

We can draw a line connecting the aforementioned Acharya to his daughter, the celebrated and prolific author Varsha Adalja, whose fiction opened this collection. Crossroad is a multi-generational historical novel set during the time of India’s independence movement. Written when the author was in her seventies, the work is groundbreaking for several reasons. In particular, despite Gujarat giving India its two most well-known Independence leaders—Mahatma Gandhi and Muhammad Ali Jinnah—and Sabarmati Ashram in Ahmedabad being Gandhi’s political base, this is among the handful of contemporary Gujarati novels to carefully explore those volatile times. That it does so mostly through the lives and experiences of women is another singular feat. Adalja’s prose is colloquially lyrical and true to its time and place. It is also cinematic and immersive, while not shying away from the worst sociopolitical issues like the infanticide and rape of young girls. As I finish my translation of the novel, I am frequently struck by the depth of her craft and research. And I am reminded of how much we still need to learn about Gujarat during those decades beyond the lives and works of Gandhi, Jinnah, and the intelligentsia.

Immediately after independence from the British in 1947, Gujarat became part of Bombay State, and the Mahagujarat Movement for a separate state became the next big political drive. From 1947 to 1960, a Sanskritized version of the language became more standardized, relegating the many regional variations to dialect status. This is also when, as translator Meena Desai writes in her introduction to a ghazal by Befaam (the pen name of Barkat Ali Ghulam Husain Virani), the Gujarati ghazal form came into its own as part of the “burgeoning movement toward an independent identity of a much-colonized country.” Tracing its origins back to seventh-century Arabic love poetry, the ghazal had gathered Persian influences as it spread across South Asia in the twelfth century through Sufi mystics and Islamic Sultanate courtiers. Ghazals continue to enjoy popularity today—especially in Bollywood—in different languages and regions of India, Pakistan, and Bangladesh. Even noted American poets have composed ghazals in English. Though difficult to translate because of their layered meanings, repetitions, and symbolism, Gujarati ghazals continue to flourish both in India and among the diaspora.

Shortly after Independence, another upheaval in Gujarat—particularly the large regions of Kathiawad and Saurashtra—involved the unification of more than two hundred independent princely states. In British India, these states had functioned more like allies rather than subordinates of the British Raj. The newly-formed Indian government pushed hard to integrate the nearly six hundred total princely states, which made up more than half the country. But legacies, traditions, and memories lingered on, as we see in an excerpt of Hasmukh Shah’s upcoming memoir, Dithu Mai . . . ( From the Margins of History ), translated by Mira Desai. Shah describes markers of a world that was quickly disappearing at that time—a Muslim ruler, his integrated team of Hindu and Muslim drivers from across caste and class hierarchies, and his garage filled with expensive and difficult-to-maintain British and American vehicles. From the child narrator’s innocent point of view, all of this is fascinating and impressive. We know the child grew up to become a key staff member for three separate Indian prime ministers. Undoubtedly, some of his diplomatic and negotiation skills had begun developing in those humble yet culturally syncretic beginnings.

That idea of cultural syncretism is also brought forth in Bharat Trivedi’s poem about Ahmedabad , an ancient city with a rich history named after a fifteenth-century Muzaffarid Sultan. As Mira Desai writes in her translator’s note, “Beyond the Hindu, Muslim, and Maratha dynasties and the British colonial rulers, there were also the Siddis, descendants of shipwrecked Africans, who bequeathed an intricate and famous carved stone screen (referenced here as Siddi Sayyed ni jali) to the city.” Though it has seen much communal tension in the last two decades, Ahmedabad has always been a political and intellectual hotbed, particularly during the Gandhi years. And while it is a constant muse for poets, writers, filmmakers, and songmakers, the walls of this city guard many untold stories still. I lived in the sprawling outskirts from mid-2014 to early 2020 and continue to explore its past and present in my own fiction. Once it grabs hold of your imagination, Ahmedabad remains a perpetual state of mind.

The third poet we’ve featured, Jayesh Jeevibahen Solanki, grew up in a village close to Ahmedabad and was a prominent, brave voice in the Gujarat Dalit Movement for most of his adult life. As translator Gopika Jadeja writes in her introductory note , “These poems give us a glimpse into a promising young mind, a poet and activist who envisioned a different future for Dalit and marginalized communities in India.” The objects described starkly in these two poems—stolen mangoes, torn kites, ice lollies for a rupee, a shirtless torso, and shoeless feet—all reveal the impoverishment that Solanki experienced throughout his life, which he tragically ended in October 2020. During my time in Ahmedabad, when I was fictionalizing the 2014 Dalit flogging incident in Una for a short story, I found a few videos of Solanki talking to journalists and reciting his poetry. His grounded convictions and passionate energy will forever haunt all who encountered him, virtually or in person.

It takes both a deep passion and a certain kind of energy to persist as a bilingual poet and writer, as Pratishtha Pandya writes in her personal essay, “ Writing in Mother Tongue and an Other Tongue .” Pandya traces her lifelong encounters with different languages and literatures to understand how her translation practice made her “more attuned to the sounds, nuances, and even limitations of the languages I was working with.” More profoundly, she investigates how there are things she can write in the “other tongue” that she cannot approach in her mother tongue because of cultural conditioning. This linguistic hopscotching about may feel ungainly at times, she writes. Still, there is joy in the spontaneous discoveries it can yield for those willing to jump past boundary constructs and land on just the right words to express themselves fully.

Sachin Ketkar also talked about the pleasures and challenges of bilingualism in my interview with him. As a Marathi-speaking Maharashtrian who grew up speaking Gujarati in Gujarat and working with English as a scholar and academic, Dr. Ketkar experienced “subtractive bilingualism”—a phenomenon I have also experienced since leaving India in 1991 but had not been able to name until this conversation. This is when, as he told me, the acquisition of an elite and powerful language like English results in the depletion and deprivation of linguistic, cultural, and creative resources of the language(s) in which one is raised. We discussed his own literary and translation journey and how intricate questions of cultural identity, tradition, modernity, and relevance stared at him with every step of that journey. Translation, for him, is primarily a creative process of negotiating through those questions. As he also shares in the interview: while creative bilingualism or multilingualism has been additive in nature for literatures in other Indian languages (e.g. Tamil, Hindi, Bangla, Marathi, and more), it has not been the same with Gujarati literature for various reasons.

In a country with so many languages, translation is, as Rita Kothari put it in my interview with her, “an un-self-conscious act [that’s] in the air, in the cosmos. And it’s hidden by being most proximate and natural.” As a multilingual scholar, translator, academic, and author, she has written extensively about Gujarati literature and translation theory. She has also co-translated, with Abhijit Kothari, the most famous historical fiction in our literary canon: K. M. Munshi’s Patan trilogy. Here, we discussed the evolution and craft of Gujarati literature in translation . This is my third interview with Dr. Kothari, and one of the recurring themes is how she sees languages as sociopolitical constructs that are, beyond their uses for communication, about power and identity. Given the evolutionary aspects I described above, this is truer than ever for the Gujarati language. In closing, Dr. Kothari recommends another great Gujarati-to-English translator, to whom we turn next.

Tridip Suhrud is renowned for his Gandhian scholarship. He is also the only Gujarati-to-English translator who has been brave enough to take on the work of translating the canonical Gujarati historical quartet, Sarasvatichandra , which I mentioned earlier. In this interview , we discussed some of his milestone translations, and I asked him where Gujarati literature stands with respect to literatures from other Indian languages in terms of creativity, innovation, diversity, volume, and recognition. He reflected on the Gujarati intellectual tradition overall, and said that “. . . we in Gujarat [ . . . ] have not thought about ourselves in our tongue with as much rigor and originality as we ought to have, or the seriousness with which language communities like Marathi, Bangla, Kannada, Tamil, and Malayalam have done.” Regarding the Gujarati translation scene, he has also discussed elsewhere how we Gujaratis are very good at bringing literary wealth from other cultures into ours, but not so good at sharing our own wealth.

Though that last bit was also a good-humored dig at the age-old Gujarati stereotype as the mercantile, business-minded community, when we look at the three Gujarati-to-English translations published in 2022 (excluding my own Dhumketu translation, which was the US edition of the 2020 Indian publication), it bears out. In her omnibus review , Shalvi Shah writes that they were “all written and translated by men and the only literary works translated from Gujarati to English in India in 2022 were published and are set more than five decades ago.” As a young translator herself, she calls out the difficulties of finding daring, new, experimental works. Sadly, this latter point also bears out, although I’m grateful that we have rare translations of books by a Gujarati Parsi and a Gujarati Dalit among those three.

Earlier, I mentioned a literary renaissance period for Gujarati literature as the independence movement got underway. The next big turning point came in the post-Gandhian era of the 1950s and 1960s with avant-garde writers like Mohammad Mankad and Suresh Joshi. Though Joshi was trained and well-read in Western literary traditions, he chose to write in Gujarati. To date, there has been no other who can match Joshi’s experimental aesthetics and prolific works of fiction, literary prose, literary criticism, and translations from several languages. In his 1992 essay collection, Imaginary Homelands , Salman Rushdie writes this about meeting Joshi:

To go on in this vein: it strikes me that, at the moment, the greatest area of friction in Indian literature has nothing to do with English literature, but with the effects of the hegemony of Hindi on the literatures of other Indian languages, particularly other North Indian languages. I recently met the distinguished Gujarati novelist Suresh Joshi. He told me that he could write in Hindi but felt obliged to write in Gujarati because it was a language under threat. Not from English, or the West: from Hindi. In two or three generations, he said, Gujarati could easily die. And he compared it, interestingly, to the state of the Czech language under the yoke of Russian, as described by Milan Kundera.

(Joshi’s stance predates that of contemporary writers like J. M. Coetzee, Ngũgĩ wa Thiong’o, and Minae Mizumura, who have all also made the political choice to write against the hegemony of English by first publishing their books in Spanish, Gikuyu, and Japanese respectively.)

Today, there is still a language pyramid in India where Bangla, Hindi, Urdu, Tamil, Malayalam, and others sit at the top. The language and history scholars I mentioned earlier have explored the whys and wherefores in their various books and papers. Globalization continues to diminish the ranks of Gujarati readers and writers by increasing the dominance of English. A quick check on Amazon India shows that, beyond academic texts, the Gujarati-language bestsellers are self-help and how-to books translated from English alongside the perennial favorite books about Steve Jobs and Elon Musk. With each generation, the body of Gujarati literature seems to become less abundant, vibrant, and innovative than it was during Joshi’s time. The Indian government and a handful of Gujarati literary institutions do what they can. For example, in 2007, the Gujarati Sahitya Akademi created a prize to recognize and encourage Gujarati authors and poets below the age of thirty . At last count, there are at least twenty different Gujarati literary awards . The Gujarati Sahitya Parishad, the oldest literary organization, has at least thirty different literary awards .

And yet, consider this: Gujarati has fifty-six million speakers worldwide. It is the sixth most spoken language in South Asia and the third most spoken language in the South Asian American diaspora . By some accounts, the Gujarati diaspora is spread over 125 countries . But my 2022 translation, The Shehnai Virtuoso and Other Stories by Dhumketu, was the first ever Gujarati-to-English literary translation to be published in the US. It was also the first ever book-length translation of this modern Gujarati short story pioneer, who published nearly twenty-six volumes of short stories alone.

For any literary culture to thrive, its readership must grow within its own societies and beyond with more translations into and from the language. This first-ever collection at Words Without Borders is a cultural intervention to bring these works to a wider readership, and to also help raise visibility within Gujarati society, especially the global diaspora. For translators from under-represented languages like ours, the act of translation can also be a mode of recovery and reclamation. Together, this small sample reveals rich glimpses of the diverse, complex, and ever-evolving literary traditions of Gujarat. It is an effort to share some of our literary wealth and celebrate our Gujarati ways of being.

Copyright © 2023 by Jenny Bhatt. All rights reserved.

Jenny Bhatt

Jenny Bhatt is a writer, literary translator, book critic, and the founder of Desi Books, a global multimedia forum for South Asian literature.

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Culture of Gujarat, Traditions, Food, Festival

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About Gujara t Culture

Gujarat culture and heritage is among the most amazing and richest ones in the country. Unique and diverse, the cultural heritage of Gujarat is an incredibly fascinating one. Also, there are several awesome places to visit in Gujarat. Scores of people regularly visit Gandhinagar, the state’s capital. The largest city of Gujarat, Ahmedabad, is also among the most frequented cities in the state. Rann of Kutch, the great Indian White Salt Desert, is among the must-see attractions in Gujarat

Gujarat is a flourishing state with cultural diversity. This vibrant state forms an integral part of the Indian culture. Gujarati culture is the blend of traditions, beliefs, customs, arts, values, and modernization. Despite being among the most industrialized state in India, Gujarat preserves its rich culture and tradition of the ancient past.

Customs and Traditions of Gujarat Embracing different religious faiths, Gujarati’s demonstrate a vibrant mix of  Hinduism ,  Islam ,  Jainism , and  Buddhism . This amalgamation of cultures is quite evident in their beliefs, customs, traditions, institutions, and practices.

Traditions of Gujarat

Gujarati’s believe in various deities as there are many religions in the state together. Accepting different religious beliefs, Gujarati shows a lively mix of Hinduism, Islam, Jain, and Buddhism. This connection of cultures is evident in their beliefs, customs, traditions, institutions, and practices. Aboriginal people show a balanced lifestyle due to a thorough education, a mix of religious practices, and the development of artistic traits. The cow is considered a mother and so they are worshiped devotionally. The main celebrated ceremonies of Gujarati include birth, rope ceremony, marriage, and death. All rituals are performed by the highest-ranked Brahmins.

Languages of Gujarat

• Gujarati is the mother tongue of the natives of Gujarat, many other languages are widely spoken throughout the state. Gujarati is an Indo-Aryan language derived from Sanskrit and is the 26th most widely used language in the world. Gujarati has about 11 different dialects, spoken in various parts of the state.

Food Of Gujarat

A traditional and authentic Gujarati meal consists of dal, roti, rice, vegetables, salad, chaas, farsan followed by a sweet dish.

Some of the famous Gujarati delicacies include dhokla, fafda, khandvi, dhal Dhokli, Undhiyu, handvo, Ganthia, dal Wada, khakhra, and Thepla.

A typical Gujarati dinner includes bhakri-shak or khichdi-kadhi. The Gujaratis are noted for their sweet tongue, and hence every meal is followed by a sweet dish or sometimes even jaggery.

Some Details of Gujarat Food

Khandvi –  This popular Gujarati cuisine is made in the form of thin layers of gram Flour that is cooked in buttermilk and converted into delicious small rolls. For the final stages these rolls are seasoned and sautéed with sesame seeds as well as other spices.

Undhiyu –  The word undhiyu is derived from the Gujarati ‘Undhu’, that means inverted literally. This is called so since this dish is prepared using an inverted clay pot. This is one of the most landmark dished of all time and is prepared using a combination of eggplant, Papdi, Surt, Methi and bananas amongst other such vegetables and items which is slow cooked and results in each bite bursting with flavours.

Aam Shrikhand –  This famous Gujarati sweet dish is created using saffron, condensed milk, chopped mangoes, sugar, Cardamom powder along with some cream. Some people also season this sweet dish with pistachios which brings out the flavors of all the ingredients that went into its making.

Gujarati Kadhi –  This is another famous Gujarati food item which is popular across the globe. This is especially a saving grace during the summer time when the scorching heat becomes unbearable. It is created using sour curd that is spiced with gram flour and is also best enjoyed while consumed with Chapatis or steaming hot basmati rice.

Cultural Dress of Gujarat

Patola Silk or ‘Queen of Silk’, it is a staple of traditional Gujarati suits. In Kutch, there is a unique traditional garment that is known as women. Chania Choli is a popular choice of decor during the Navratri festival season. Men also wear unique suits known as kadia dresses during the Navratri season. Also, one of the prevailing Gujarati trends is the Silver Pachikam Jewelry originating in Kutch.

Fairs and Festivals Of Gujarat

Makar sankranti and kite flying festival (14 january).

Also known as the kite flying festival this festival is celebrated with great vigor and enthusiasm. This festival marks the sun’s direct reaching to the tropic of Capricorn after the completion of the winter solstice. It is celebrated with many folk musics, dance, and kite flying. People of Gujarat gather on terraces to fly kites of various colors to celebrate Makar Sankranti or Uttrayana, in Gujarat, it is also the time when preparations like Undhiyu and sugar cane juice is served. the welcome to the sun after the cold winter months.

Bhadra Purnima (September)

The full moon of Bhadrapad is one of the four most important festival days of the year when farmers and agriculturists come to Ambaji, a place that derives its name from Goddess Ambaji, whose shrine is located there. On this occasion, a large fair is organized on full moon days. In the evening, performances of Bhavai, the folk drama of the state, is held and Garba programmes are organized. The devout attend readings of the Saptashati, the seven hundred verses in praise of the goddess, and visit the temple for a darshan (worship) of her. The Ambaji shrine is the principal shrine of the goddess in Gujarat, and its origins are still unknown. The Temple of Ambaji is recognized as one of the original Shakti Pithas (religious texts) where, according to the ancient Scriptures, the heart of the goddess Ambaji fell to earth when her body was dismembered. A triangular Vishwa Yantra, inscribed with figures and the syllable ‘Shree’ in the centre, represents the deity. There is no idol, which testifies the temple’s antiquity. Idol worship became popular much later.

Bhavnath Mahadev Mela (February)

This fair takes place at the Bhavnath Mahadev Temple that is located on the foot of the holy mount Girnar in Junagadh. This fair takes place for 5 days in the month of February around the festival of Mahashivratri. During this fair, the Mahapuja of Lord Shiva takes place at midnight inside the temple on the 14th day of the dark half of the month of Magh. It is a popular belief that during this time, Lord Shiva himself visits this shrine.

Trinetreshwar Mahadev Fair (September–October)

The small hamlet of Tarnetar, about 75 kilometers from Rajkot, is the site for one of Gujarat’s most well-known annual fairs, held here during the first week of Bhadrapad (September–October). This fair is primarily a “marriage mart” or “Swayamvar” for the tribal youth of today who still visit Tarnetar, to find them a suitable bride. The tribal youth elegantly dressed in colourful dhotis, waistcoats and eye-catching turbans come to be chosen by village belles dressed in colourful finery. Like all important tribal fairs, it is attended by tribes from the adjoining areas who indulge in dancing, competitive sports and other such forms of entertainment. There are over 300 stalls selling food, refreshments, exhibiting embroidery and cattle shows. The bachelors are usually identified by their large, colourful embroidered umbrellas and their distinctive hairstyles. These umbrellas, which have become emblems of the fair, are embroidered by the tribal youth for over a year. The fair is held around the Trinetreshwar Temple, which was dedicated to the three-eyed Lord Shiva and built at the beginning of the century. There is a kund (reservoir) here, and it is popularly believed that a dip in its waters is as holy as a dip in the sacred River Ganges. The reservoir is also known as papanshu (the destroyer of sins).

Tarnetar Fair

The venkatareddy Tarnetar Fair is one of the most happening events in Gujarat and is held at the Temple of Shiva or Trinetreshwar (three-eyed god), popularly known as Tarnetar. Popular belief associates the village with the Swayamwar (marriage) of Draupadi after Arjun performed the Mastsyavedh, an unparalleled feat of archery. Villagers from all over the state, dressed in their brilliant traditional costumes and exquisite jewellery, flock to Tarnetar. A veritable feast for the eyes is the Rasada, a captivating folk dance performed by hundreds of women moving gracefully in a single circle, dancing gaily to the accompaniment of four drums and jodja pava (double flutes). It is in the district Surendranagar.

Kutch Festival Or Rann Festival

The ‘Kutch Festival’ or the ‘Rann festival’ is celebrated at the time of the Shiv Ratri in February/ March. The center of the festival is Bhuj in Kutch. It has crafts, fairs and folk dances, and music and cultural shows, all organized by Gujarat Tourism. Tours are also conducted out to the ruins of Dhola Vera, a city that was once a part of the Indus Valley civilization. The Kutch region in Gujarat abounds with splendid beaches, fascinating wildlife, and beautiful palaces and monuments.

Music Of Gujarat

The folk music of Gujarat is known as Sugam Sangeet and has acclaimed world-wide fame. The range of musical instruments utilized in Gujarati folk music includes turi, manjira, ektaro, jantar, zanz pot drum, prabhati, dhol and ravan hattho. Bhajans are also incorporated in their folk songs. Bardic tradition is another major type of folk Gujarati music.

Dance Of Gujarat

Since Gujarati people are quite enthusiastic and amiable, they have many traditional forms of dance. The four major forms of dance are Dandiya Raas, Garba, Padhar, and Garbi.

• Dandiya  Raas is performed by both men and women and utilizes the movement of bamboo sticks, known as Dandiyas. It has ancient roots and was believed to be played by the beloved Gopis of Lord Krishna.
• Garba  is usually performed by the females in a circular formation. It is performed with reverence for the feminine form of divinity.
• Garbi  is traditionally performed by only the men and incorporates the use of instruments like dhol and manjiras.
• Padhar  is mainly performed by the rural communities near Nal Lake.

Engagement ceremony Of Gujarat

In many Gujarati communities, the engagement ceremony is known as ‘Goad Dhana’ which does not include a ring ceremony . (in Gujarat Script, ગોળ-ધાણા), which literally means “Jaggery and Coriander seeds” and refers to the practice of distributing a small amount of jaggery mixed with coriander seeds.

Marriage ceremony Of Gujarat

Marriage is a highly auspicious occasion in Indian culture. According to the Vedas, the Hindu scriptures, marriage is a sacred lifelong commitment between a man and a woman. It is considered to be the strongest of all social bonds and is the initiation into a lifetime of togetherness.

The Vedic wedding ceremony consists of prayers, invocations, and vows recited in Sanskrit, the most ancient surviving language. The Vedic wedding ceremony dates back to over five thousand years and is performed under a decorated canopy, the  mandap . The four pillars that surround the  mandap  represent the parents of the bride and groom. This signifies the important part they have played in raising their children to become the responsible adults they are today. The ceremony is performed before a sacred fire, or  agniaa , which is the eternal witness of the marriage, and all vows are taken.

Parts of the ceremony

Every Hindu ceremony begins with the worship of Lord Ganesha, the deity of peace and wisdom. This is done so people can find strength within themselves to remove any obstacles that may arise.

Varghodo  (Wedding Procession)

The original form of a  barat  is a procession from the groom’s house to the bride’s house for the wedding ceremony. The wedding day begins with the Mangal Vadya, the playing of Shehnai (a traditional wind instrument) and Dhol (Indian drum).

Swagatam (Welcoming the groom and his family)

The groom and his family are greeted at the doors of the mandir (temple) by the bride’s parents and family. The mother of the bride then greets and welcomes the groom and his family into her own family. She blesses the groom by placing a tilak (red dot) on his forehead. The groom is then led to the  mandap  where the wedding ceremony will take place.

Ganesh Puja (The worship of Lord Ganesh)

Madhuparka (Welcoming the groom)

While the groom is sitting under the  mandap  the  madhuparka  is performed where his feet are washed by the bride’s parents. He is then offered  panchamrut , a drink composed of milk, yogurt, ghee, honey, and sugar.

Kanyaa Daan (Giving away of the daughter)

The bride accepts her change of status from an unmarried woman to a wife by spreading Turmeric powder on her hands. Kanya Daan is performed by the father (or uncle or guardian) of the bride in presence of a large gathering that is invited to witness the wedding.

Vivah (Wedding)

The bride and the groom face each other, and the priest ties their garments (the bride’s saree to the groom’s shirt) in a knot, symbolizing the sacred union. The bride and the groom garland each other and exchange the rings. Next, the nuptial fire, symbolizing the divine witness, and the sanctifier of the sacrament, is installed and worshipped.

Both the bride and the groom grasp their hands together and pray to God for His blessings. Samagree, consisting of crushed sandalwood, herbs, sugar, rice, ghee (clarified butter), and twigs is offered into the sacred fire to seek God’s blessings for the couple.

Mangal Phera (Circumambulation of the sacred fire)

The groom holds the bride by the hand and both walk four times around the sacred fire. Both offer oblations and recite appropriate Vedic hymns to Gods for prosperity, good fortune, and conjugal fidelity. They touch each other’s heart and pray for union of their hearts and minds.

Saptapadi (Seven sacred steps)

This is the most important rite of the entire ceremony. Here the bride and the groom take seven steps together around the sacred fire (Agni) and make the following seven promises to each other: As per the Vedic rituals, the groom sings “With God as our guide, let us take”:

• The first step to nourish each other
• The second step to grow together in strength
• The third step to preserve our wealth
• The fourth step to share our joys and sorrows
• The fifth step to care for our children
• The sixth step to be together forever
• The seventh step to remain lifelong friends
• The perfect halves to make a perfect whole!

The Satapadi ceremony concludes with a prayer that the union is indissoluble. At the end of this ceremony, the groom and the bride become husband and wife.

Mangal Sutra

The Mangal Sutra Dharana is the tying of the thread containing the marks of the Vishnu or Shiva on the neck of the bride by the groom.

Suhaag or Sindhoordana

The groom places sindoor (red powder) on the bride’s hair symbolizing her as a married woman.

Aashirvaad (Blessing)

The groom’s parents bless the couple and offer clothes or flowers to the bride, symbolizing her joining the groom’s family. All those assembled at the ceremony shower flowers on the couple and bless them completing the marriage. Kanya Viday;- The Bride is taking ashirwad from his relatives ( Father, mother, brother, sister, Mamas and all the relatives), the most difficult moments for Father, who is now handing over his daughter to the groom`s Family forever with very much emotional posture, it’s a very very difficult time, everyone is with tears in their eyes, that’s why its call Vasmi Viday.

Gujarati cinema

The Gujarati cinema dates back to 9 April 1932, when the first Gujarati film Narsinh Mehta was released.  Leeludi Dharti  (1968) was the first color film of Gujarati cinema. After flourishing through the 1960s to 1980s, the industry saw a decline. The industry is revived in recent times. The film industry has produced more than one thousand films since its inception. In 2005, the Government Of Gujarat announced a 100% entertainment Tax Exemption for Gujarati films. The Gujarati cinema is also known as ‘Dhollywood’ or ‘Gollywood’

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Culture of Gujarat: Exploring the Rich Heritage, Art, Music, Food and Festivals

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Table of contents

• Heritage of Gujarat
• Architecture in Gujarat

Traditional Dresses of Gujarat

Gujarat food culture, art and craft of gujarat, music and dance forms of gujarat.

• Fairs and Festivals of Gujarat
• Religion in Gujarat
• Language of Gujarat
• Tourism in Gujarat
• Occupation in Gujarat

Located along the western coast of India, Gujarat is the fifth-largest state of the country. The state has preserved its ancient history, culture and traditions since ages past. Recognised easily through its energy, colours and amiability, Gujarat is the ninth most populated state of India.

To understand the absolute diversity and unique culture of Gujarat, we dive into the various aspects that define the state and its people.

Heritage of   Gujarat

The state of Gujarat is a trove of rich heritage and cultural history. The structures and monuments built with ancient technology stand tall in their domineering stature. The city of Sidhpur, for example, displays the relics of old centuries through its colourful mansions that belong to the Dawoodi Bohra Muslim community . The ancient city of Baroda (now, Vadodara) is where the royal family of Gaekwad established their kingdom in the 18th century. The sweeping Laxmi Vilas Palace located in this city displays Indo-Saracenic architecture.

There are several other brilliant palatial buildings like the Naulakha Palace, Prag Mahal Palace, Vijay Vilas Palace and Lakhota Palace which are treasured insights into the legacy of architectural marvels. 

Architecture  in  Gujarat

The Mahabat Maqbara mausoleum is an example of the splendid craftsmanship of Indo-Islamic architecture. It was built during the 19th century at Junagadh , a historical city located at the bottom of Girnar Hills.

The majestic mosque of Jama Masjid is situated in the city of Ahmedabad is an example of architectural ingenuity with its fine, intricate details and splendid design. The Sidi Bashir Mosque with the Jhulta Minara and the Sidi Saiyyed Mosque are monuments of exquisite Islamic architecture. 

The Uparkot Fort dates back to 319 BC and was built by Chandragupta Maurya. It exhibits several ancient structures including step-wells and Buddhist rock-cut caves. The Bai Harir ni Vav at Ahmedabad, the Adalaj stepwell and Rani Ki Vav at Paltan are examples of spectacular step-wells that narrate fascinating tales of history. 

Most forts in Gujarat are made of stones, with arches and expansive gates adding to their grandeur. The design and layout were influenced by the methods of warfare that were prevalent during the time of its construction. Some famous names are those of Lakhota Fort in Jamnagar, Pavagadh Fort in Panchmahal District, Old Fort in Surat, Ilva Durga in Idar and Zinzuwada Fort in Rann of Kutch.

The traditional dress of Gujarati culture often has tie-dye or block prints. The Patola silk forms an essential part of the attire representing Gujarati culture. The vibrant women’s costume of Chaniya Choli is significant during festivities, especially the Navratri Mahotsav. It is a long, heavy skirt worn with a blouse and a dupatta called Chunni, all embedded with mirror work. Abhas is the representative traditional outfit worn by women of Kutch.  

The men usually wear Kurta and Dhoti. The cotton Chorno pants are light and are very suited for the hot climate. Their Kediyu top is a frock-like, colourful clothing  usually worn during joyous festivities. They often wear a headgear called Phento.

The gorgeous silk saree of Gharchola with its zari-embroidery and the white Panetar saree with its red bandhani border are traditional bridal attire. The Kurta of the groom, on the other hand, is adorned with intricate embroidery.

The cuisine of Gujarat is primarily vegetarian. The conventional meal consists of roti, rice, dal and vegetable preparation. A sweet dish like ‘gur’ or jaggery and Aam Shrikhand follows after as dessert. Gujarat’s most traditional and authentic delicacies include Dhokla, Thepla, Dal Dhokli, Undhiyu, Fafda, Handvo, Ganthia, Khandvi and Gujarati Khadi. Pickles, Farsans and Chutney are great accompaniments for heavy meals. The conventional dinner of a Gujarati includes khichdi-kadhi or bhakri-shak.

The distinct flavour and blend of taste vary from one region to another. Since the coastal climate of Gujarat is dry, adequate amounts of sugar, lemon and tomatoes in the diet help to keep the body hydrated.

The artisans of Gujarat create the most intricate and colourful handicraft products. Be it jewellery, interior decor pieces, gorgeous embroidered garments or furniture, Gujarat showcases creative craftsmanship and skill. The arts and crafts of Gujarat is a pivotal force in preserving its culture and heritage. 

Among the numerous handicraft and handloom practices, there is leatherwork, metalwork, applique and patchwork, and mirror work. Places like Khambhat and Saurashtra are famous for their beadwork. The people have exquisite preferences for woodwork, as seen in the likes of Meenakari furniture and Sankheda furniture. 

The detailed intricacy of the patterns on the Patola sarees impart an elegant, traditional outlook to the garment. Originated in the Mughal era, the gold threaded zari embroidery is Gujarat’s oldest textile craft. 

Mention should be made of the Rogan painting of the Khatris from the Kutch region and the ancient tribal Warli paintings .

The folk music of Gujarat often incorporates Bhajans into them. Sugam Sangeet has acquired worldwide fame since the last few years. The state boasts of a variety of musical instruments including Turi, Ektara, Manjira, Jantar, Dhol, Prabhati and Ravanhatta. Bardic tradition is an important type of Gujarati folk music.  

Gujarat is a state of vibrant dance forms that bring the people together in the joy of the occasion. Dandiya Raas , performed by both the women and men, traces its origin in the legends of Lord Krishna and the Gopis. The bamboo sticks used as props in the dance are called Dandiya. The energetic dance form of Garba is performed in a circular formation, usually by women. Garba dancers dress in the most colourful and gorgeous attires as they revolve in a celebratory dance around the divine statue of Shakti. Padhar is an interesting dance form performed by the rural communities residing around Nal Lake.

Fairs and Festivals of  Gujarat

Gujarat is characterised by invigorating cultural festivals that are a reflection of its diverse population. People from other states visit Gujarat to witness and participate in the grand celebration of festivals like Navratri Mahotsav, Diwali, Rann Utsav , Rath Yatra and Makar Sankranti .

The Dang Darbar Fair is organised to honour the rulers and leaders of villages who gathered for Durbar during the British rule in India. It is held in the Dangs district, of a mostly tribal population. Some other important fairs that are organised in the state include Shamlaji Mela, Bhadra Purnima Utsav and Mahadev Utsav. 

The Rann Utsav is a carnival of exquisite arts and crafts, music, dance and the natural brilliance of the white Rann. Through its thorough execution and excellent designing, the culture of the state is represented in all its colours.

Religion in  Gujarat

Like most states of India, Gujarat, too, is home to people of different religions. The major religions of the state include Hinduism, Islam, Jainism and Buddhism. The variety of cultures, therefore, is reflected in the lifestyle, customs, practices, art and festivals celebrated in the state.    

Language of  Gujarat

The native people of the state speak Gujarati, an Indo-Aryan language derived from Sanskrit. It ranks 26th among the most used languages in the world and has many different dialects spoken in different parts of the state. A section of the population speaks languages like Hindi, Marwari, Marathi and Urdu, because of the influence of neighbouring states. The Kachhi-language of the semi-arid region of Kutch is significant to Gujarat’s culture.

Tourism in  Gujarat

The cities of Gujarat are its cultural pride. The ancient Dwarka, its first capital, is one of the sacred ‘Char Dham’ Hindu pilgrimage sites. 

In 2017, Ahmedabad was declared as India’s first UNESCO World Heritage City . It is an abode of a diverse community of people about Hinduism, Islam and Jainism. Gandhi’s Ashram is a historically significant place of tourist attraction in Ahmedabad. Other important places include the city of Sidhpur, the hill station of Saputara (or “abode of serpents”), and the dockyard and trading centre of Harappa, Lothal.

Gujarat is a state of the magnificent history of architectural wonders. And such is reflected in its numerous places of worship. The Sun Temple at Modhera village was built by the rulers of the Solanki dynasty in the 11th century. The pilgrimage destinations of Dwarkadhish Temple, the Somnath Temple and the Shatrunjaya Hill Temples are renowned all across India.

There are several wildlife and bird sanctuaries located in Gujarat. The Velavadar Blackbuck National Park prides itself in the largest population of Blackbuck and the rare, spiral-horned Indian antelope. The Nalsarovar Bird Sanctuary, Gir National Park and the Narara Marine National Park are some other attractive sites.

The great semi-arid region of Rann of Kutch is a major cultural and tourist attraction. Besides, Sabarkantha district’s Polo Forest and Idar Hill Fort are must-visit for history lovers.

Occupation  in  Gujarat

The chief occupation of the state is agriculture people primarily engage in farming crops like rice, wheat, sugarcane, millet and cotton. Milk and dairy products are also significant outputs.

Industrial products like cement and petroleum provide a major contribution to the economy. The automobile industry, pharmaceuticals and tourism generate significant income for the people of Gujarat.

The film industry of Gujarat has always brought distinct forms of cinematic art other than mainstream entertainment. It is a major regional and vernacular film industry of India. Its first movie was in 1932, titled ‘Narsinh Mehta’.

The people of Gujarat have preserved its customs and traditions despite the influence of modernisation. They form an ethnically diverse community with their unique histories and practices. The state’s identity adhered to the life of the people.

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Gujarati Essay-પર્યાવરણ સુરક્ષા - પ્રદૂષણ અને પર્યાવરણ

પરફેક્ટ જીવનસાથી શોધી રહ્યા છો ? ગુજરાતી મેટ્રિમોનીમાં - મફત નોંધણી કરો

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Kargil vijay diwas -કારગિલ યુદ્ધ કેવી રીતે શરૂ થયું.

Personality Development Tips- પર્સનાલિટી ડેવલપમેન્ટ માટે આ 8 વાતોં કામ આવશે

આ વખતે ઘરે જ બનાવો દૂધપાક, મોંમાં મીઠાશ આવશે

શું તમને ગેસને કારણે પેટમાં દુ:ખાવો થાય છે ? તો તરત જ અજમાવો આ ઘરેલું ઉપાય, દુખાવામાં મળશે રાહત અને પેટ થશે ઠીક

શરીરને સ્વસ્થ રાખવા માટે રોજ કેટલી કેલોરી લેવી જોઈએ ?

પિતૃ પક્ષની માતૃ નવમી 25 કે 26 સપ્ટેમ્બરે ક્યારે ઉજવવામાં આવશે? જાણો તેનું મહત્વ

Garba Look with Cowrie Jewellery: નવરાત્રી ગરબા લુકને વધુ સારુ બનાવો આ સ્ટાઈલિશ જ્વેલરીની સાથે

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51 Shaktipeeth : કાલીપીઠ કોલકત્તા પશ્ચિમ બંગાળ શક્તિપીઠ - 17

51 Shaktipeeth : હિંગળાજ માતાનું મંદિર બલૂચિસ્તાન પાકિસ્તાન શક્તિપીઠ-16

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Essay on gujarati language (1230 words).

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Essay on Gujarati Language!

Gujarati evolved from a dialect of the Gurjara Apabhramsa. It reached a distinctive form by the 12th century. Jain influence is strongly evident in the early stages of its development.

Jain authors transformed the Rasa, originally a folk dance, into melodious dramatic poetry. In the eleventh century, due to the development of trade and commerce, the religious influence of Jainism and that of Hinduism, and the encouragement provided by Siddhraj, Solanki and Vaghela Rajputs, literary activities flourished.

In the context of gradual evolution, the history of Gujarati literature is generally classed into three broad periods: the early period (up to c. 1450 AD), the Middle period (up to AD 1850) and the Modern period (AD 1850 onwards). However, Gujarati literature and its tremendous maturation and proficiency have been traced back to the Muzaffarid dynasty, which had provided the sultans of Gujarat in western India from 1391 to 1583.

The first four centuries of the second millennium AD— Praag Narsinh-Yug—saw the emergence of the distinguished Jain monk and scholar Hemchandracharya Suri, one of the earliest scholars of Prakrit and Apabhramsha grammars and the mother of the Gujarati language. He had penned a formal set of ‘grammarian principles’, a treatise that formed the cornerstone of Apabhramsa grammar in the Gujarati language. He wrote Kavyanushasana, a handbook or manual of poetry, Siddha-haima-shabdanushasana, Prakrit and Apabhramsha grammars, and Desinamamala, a list of words of local origin.

The earliest writings in this language were by Jaina authors. Rasas were long poems which were essentially heroic, romantic or narrative in nature. Salibhadra Suri’s Bharatesvara Bahubalirasa (AD 1185), Vijayasena’s Revantgiri-rasa (AD 1235), Ambadeva’s Samararasa (AD 1315) and Vinayaprabha’s Gautama Svamirasa (AD 1356) are the most illustrious examples of this form.

Other notable prabandha or narrative’ poems of this period include Sridhara’s Ranamalla Chhanda, Merutunga’s Prabodhachintamani, Padmanabha’s Kanhadade Prabandha and Bhima’s Sadayavatsa Katha.

The phagus are poems that pictured the blissful and cheery nature of the spring festival, examples being Rajasekhara’s Neminatha-phagus (AD 1344) and Vasantha- vilasa (AD 1350). “Neminatha Chatuspadika”, written in 1140 by Vinayachandra, is the oldest of the baramasi genre of Gujarati poems.

The earliest work in Gujarati prose was written in 1355 by Tarunaprabha (Balavabodha). Manikyasundara’s Prithvichandra Charita (AD 1422), a religious romance, is the best illustration of old Gujarati prose.

During the fifteenth century, Gujarati literature was deeply influenced by the Bhakti movement. Narsinh Mehta (AD 1415- 1481) was the foremost poet. The Ramayana, the Bhagavad Gita, the Yogavashistha and the Panchatantra were all translated into Gujarati. This period also experienced the colossal Puranic revival, which led to the rapid growth and maturation of devotional poetry in Gujarati literature.

Meera and Dayaram, along with Narsinh Mehta, were foremost contributors of the sagun bhakti dhara. Bhalana (1434- 1514) had translated Banabhatta’s Kadambari into Gujarati. Bhalana composed Dasham Skandha, Nalakhyan, Ramabal Charitra and Chandi Akhyana. Meera supplied many padas (Verse).

Premanand Bhatt elevated the Gujarati language and literature to a new height. Shamal Bhatt was an extremely creative and productive poet (Padniavati, Batris Putli, Nanda Batrisi, Sinhasan Batrisi and Madana Mohan).

Dayaram (1767-1852) wrote religious, ethical and romantic lyrics (the ‘Garbi’) in his works Bhakti Poshan, Rasik Vallabh and Ajamel Akhyan. Parmanand, Brahmanand, Vallabha, Haridas, Ranchhod and Divali Bai were other authoritative ‘saint poets’ from this period.

The nirgun bhakti dhara was represented by again Narsinh Mehta. Akho’s Akhe Gita, Chittavichar Samvad, Anubhav and Bindu are seen as ’emphatic’ compositions on the Vedanta. Other contributors are Mandana, Kabir-Panthi, Dhira Bhagat, Bhoja Bhagat, Bapusaheb Gaikwad, and Pritam.

From the middle of the 19th century, Gujarati came under the strong western influence, due to colonial residence. Modern Gujarati literature is associated with Dalpatram (1820-1898) who wrote Vinacharitra and Narmad (1833-1886) who wrote the first Gujarati dictionary, the Narmakosh.

It is a history of the world, and also an authority on poetics. Narmad’s Rukmini Haran and Virasinh are considered to be masterpieces. The other great works in this era are Bholanath Sarabhai’s Ishvara Prarthanamala (1872), Navalram’s Bhatt nu Bhopalu (1867) and Veermati (1869), and Nandshankar Mehta’s Karana Ghelo (1866)— the first novel of Gujarati literature.

Ranchhodlal Udayaram Dave (1837-1923) is seen as a groundbreaker in the art of play- writing in Gujarati. Other dramatists of note were Dalpatram, Narmad and Navalram. The poets of note include Narsinhrao Divetiya (Smarana Samhita, Kusumamala, Hridayavina, Nupur jhankar and Buddha Charit); Manishankar Ratanji Bhatt or Kavi Kant (Purvalap) and Balwantray Thakore (Bhanakar).

Poet Nhanalal, author of Vasantotsava (1898) and Chitradarshan (1921), an epic referred to as Kuruksetra, outshone in his apadya gadya or rhyming prose. Govardhanram Tripathi (1855-1907), author of Saraswatichandra, was among the celebrated novelists of Gujarati literature.

During the period of influence of Gandhi, Gujarat Vidyapith became the nerve-centre of all literary activities. Novels, short stories, diaries, letters, plays, essays, criticisms, biographies, travel books and all kinds of prose began to flood Gujarati literature.

Modern Gujarati prose was given prominence by KM. Munshi, one of the best known literary figures of Gujarati literature whose works include dramas, essays, short stories and novels and Mahatma Gandhi, whose An Autobiography of My Experiments with Truth, Satyagraha in South Africa, Hind Swaraj or Indian Home Rule, a political pamphlet, and a paraphrase in Gujarati of John Ruskin’s Unto The Last are well- known works.

During the 1940s, there could be witnessed a rise in communistic poetry and this inspired a movement for progressive literature in Gujarati. Poets like Umashankar, Sundaram, Shesh, Snehrashmi and Betai, amongst others, centred on the existing social order, the struggle for independence and the travails of Mahatma Gandhi himself.

Inspired by Rabindranath Tagore’s poems, Umashankar Joshi enriched Gujarati literature by writing in Tagore’s style. His writings include Prachina, Mahaprasthan, Nishith (Jnanpith Award in 1967). The Gujarati novel was also made a household name by G.G. Joshi (‘Dhumaketu’), Chunilal V. Shah, Gunvantrai Acharya, Jhaverchand Meghani, Pannalal Patel and Manubhai Pancholi.

Chandravadan Mehta, Umashankar Joshi, Jayanti Dalai and Chunilal Madia were some significant dramatisits and Kaka Kalelkar, Ratilal Trivedi, Lilavati Munshi, Jyotindra Dave and Ramnarayan Pathak the noted essayists of the time.

In the 1940s and the 1950s, poetry dominated. Rajendra Shah, Niranjan Bhagat, Venibhai Purohit, Prahlad Parekh and Balmukund Dave were the major poets.

Post-independence Gujarati poetry revealed greater subjectivity and explored newer philosophies, thoughts and imagery. The poems are very subjective and brutal. Gujarati poets of the era include critically acclaimed poets like Suresh Joshi, Gulam Mohamed Sheikh, Harinder Dave, Chinu Modi, Nalin Raval and Adil Mansuri.

Post-independence prose literature had two distinct trends: traditional and modern, the former represented by writers of ethical values (Gulabdas Broker, Mansukhlal Jhaveri, Vishnuprasad Trivedi and others) and the latter by writers reflecting the influence of existentialism, surrealism and symbolism (Chandrakant Bakshi, Suresh Joshi, Madhu Rai, Raghuvir Chowdhury, Dhiruben Patel, Saroj Pathak and others).

Popular writers like Vithal Pandya, Sarang Barot, Dinkar Joshi, Harkisan Mehta, Ashwini Bhatt wrote novels that won the hearts of the common people. Pannalal Patel’s novel Maanavi Ni Bhavaai received the Jnanpith Award in 1985.

After the mid-1980s, Gujarati literature has seen the likes of Bhagwatikumar Sharma, Vinesh Antani, Dhruv Bhatt, Yogesh Joshi, Bindu Bhatt, and Kanji Patel who have brought freshness in narration in novels.

Gujarat Vidhya Sabha, Gujarat Sahitya Sabha, and Gujarati Sahitya Parishad are Ahmedabad-based literary institutions promoting the spread of Gujarati literature.

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