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Winds of Change
“Winds of Change” explores the Indian hand fan (pankha)—its origin from “pankh,” early evidence at Ajanta, and its use in temples and royal courts. It highlights regional designs, materials, and how pankhas shifted from daily utility to decorative craft items. The chapter also stresses preserving this heritage through awareness and workshops.
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More about chapter "Winds of Change"
In “Winds of Change,” students learn how the word punkha/pankha comes from “pankh” (feather), while “pankhi” refers to the small plumed fan used in ancient India. The chapter traces early evidence of pankhis in Buddhist wall paintings at Ajanta (2nd century CE) and shows how fans appeared in embroidery, sculptures, and carvings. It explains how pankhas served religious and royal settings—fanning deities in temples and kings in courts—and how they ranged from tiny two-inch fans to large, arm-strength fans.
As pankhas travelled through trade routes, they became exotic cultural goods. Different regions developed distinctive varieties using materials like bamboo, cane, palm leaf, silk, brass, leather, silver, beads, and stones. The chapter compares regional examples: Rajasthan’s appliqué, zardozi, brass temple fans, and painted cardboard offerings; Gujarat’s cotton mirror-work fans, bead fans with silver handles, and Kutch leather fans; Bengal’s sola fans and Tal Patar Pankha. It concludes by discussing modern decorative use, livelihood for artisans, and preservation through celebration and pankha-making workshops.
Class 9 English (Kaveri) Chapter: Winds of Change — Pankha Craft, History, Materials & Regional Variations
Learn about the Indian hand fan (pankha) in Class 9 English Kaveri chapter “Winds of Change”: origin from “pankh,” Ajanta evidence, temple and royal use, materials like bamboo and palm leaf, and regional styles from Rajasthan, Gujarat, Bengal and more—plus ways to preserve the craft.
The chapter explains that the word “punkha” or “pankha” originates from the word “pankh,” which means the feather of a bird. In usage, “pankha” is a broader term used to refer to all fans. The text also introduces “pankhi,” a related word that specifically denotes a small plumed fan used in ancient India. This origin highlights how early fans were closely linked to feathers and the idea of gentle fanning, before later regional materials and designs developed across India.
A “pankhi” is described as a small plumed fan that was used in ancient India. The chapter contrasts this with “pankha,” which is used more generally to refer to all fans. This distinction matters because the pankhi is tied to early historical evidence and ancient practices, while pankha includes the many later forms created with diverse materials such as bamboo, cane, palm leaf, silk, brass, leather, or silver. Over time, the broader category of pankha grew to include regional craft styles and decorative fans.
The chapter provides historical evidence by pointing to Buddhist wall paintings at Ajanta. These paintings date back to the 2nd century CE and show the existence and use of pankhis in India. In addition to Ajanta paintings, the text states that other representations of the punkha can be found in embroidery work, sculptures, and carvings. Together, these sources indicate that handheld fans were not only used in daily life but were also culturally significant enough to be shown in important artistic traditions.
In ancient times, pankhas had important ceremonial roles. The chapter states they were used in temples to fan deities, showing their connection to worship and ritual practice. They were also used in royal courts to fan kings, linking them to power and prestige. This dual use—religious and royal—suggests that pankhas were more than simple tools for comfort. Their presence in sacred spaces and courts helped them become culturally valued objects, later turning into significant goods traded across regions.
The chapter notes that pankhas varied widely in size. Some were extremely small—about two inches—while others were very large and required a person’s full arm strength to move them. This range shows that pankhas were designed for different needs and settings. A small pankha or pankhi could be used easily by hand, while larger versions likely served ceremonial or practical needs in bigger spaces. The diversity in size also reflects how the craft adapted across times and places.
According to the chapter, pankhas gradually became significant cultural goods that were distributed through trade routes. As they travelled, they came to be seen as exotic and stylish items. Even though there was commonality in the basic use of fans across India, trade helped spread and popularize distinctive styles. This movement also encouraged towns and villages to develop their own traditional varieties with unique materials and intricate designs, strengthening the pankha’s identity as a cultural craft rather than only a household object.
The chapter emphasizes that while fans were used across India, different villages and towns developed their own varieties of traditional pankhas. Each place created pankhas using distinct materials or intricate designs that made them recognizable. These variations depended on geography, culture, and traditional rituals. The structure of each fan is said to reflect the cultural core of the region that makes it. This idea helps students connect handicrafts to local identity, traditions, and artistic choices in different parts of India.
A major focus of the chapter is the range of materials used for pankhas. It lists bamboo, cane, palm leaf, silk, brass, leather, and silver as common materials, often enhanced with decorative beads and stones. The choice depended on geography, cultural practices, and rituals. In tribal versions, materials such as grass and metal were embedded into fans using bamboo sticks and grass. The chapter also notes that silk and brass were reserved for antique pieces of some hand fans.
The chapter states that in modern times the use of pankhas has been restricted mainly to decorative purposes, and they have become traditional craft items in India. It links this shift to changing times and the advent of technology and innovative creations, which reduced daily reliance on handmade fans. Even though their practical everyday use declined, pankhas remain valued for craftsmanship, regional identity, and artistry. Their decorative role keeps them visible as cultural objects, especially in exhibitions and as wall or temple decorations.
The chapter explicitly says that the structure of each fan reflects the cultural core of the region that crafts it. This is shown through examples like Rajasthan’s appliqué and zardozi styles, Gujarat’s mirror work and bead craft, Bengal’s sola-based fans, and Kutch’s hand-stitched leather fans. Materials, patterns, and decoration methods differ according to local traditions and skills. By linking design to cultural identity, the chapter teaches students to see handicrafts as records of regional history, art, and community practices.
The chapter describes the appliqué hand fan of Rajasthan as an antique pankha. It is made by sewing pieces of fabric in different shapes and patterns onto another cloth, using ornamental needlework. This technique creates layered, decorative surfaces and showcases detailed craftsmanship. The description helps students understand how textiles and needlework traditions influence pankha-making. It also demonstrates the chapter’s larger idea: different regions create distinctive fans using local materials and established art forms, making each pankha a cultural marker.
The chapter states that the zardozi hand fan of Rajasthan differs because it uses glittering, ornate, and encrusted gold threadwork. Zardozi is presented as a rich decorative technique, making the fan visually striking and traditionally valuable. By contrasting appliqué with zardozi, the text shows that even within one state, multiple styles exist depending on embroidery methods and decorative goals. This also supports the idea that pankhas became exotic and stylish cultural goods, valued for detailed craftsmanship.
In Rajasthan, the chapter notes that temple hand fans are popular and are made by engraving brass. It also mentions that these fans have a long handle. This description connects temple pankhas to both craftsmanship (engraving) and religious use. Brass, being durable and visually distinctive, suits ceremonial settings. The long handle likely supports practical fanning during rituals. The example reinforces the chapter’s point that pankhas have historically been used in temples and that regional materials shape the form and function of fans.
The chapter describes a painted hand fan as a cardboard pankha featuring various images. It notes that it is usually offered to gods. This example shows a direct link between pankhas and religious practices, where the object becomes a devotional offering rather than only a cooling tool. The use of cardboard and painted images highlights how materials and purposes can change depending on tradition. It also supports the broader theme that pankhas carry cultural stories and meanings across different regions of India.
The chapter explains that Gujarat has its own indigenous take on pankhas. These include elegant pure cotton-based fans embellished with mirror work. It also mentions bead hand fans covered with colourful beads and featuring a silver handle. Gujarat is identified as the centre for bead craft in India, and these dainty pankhas are commonly used as wall decorations. Together, these features show how Gujarat’s fans combine textile work, mirror decoration, and bead craft to create distinctive decorative items with regional identity.
Bead hand fans are associated with Gujarat because the chapter identifies Gujarat as the centre for bead craft in India. It describes these fans as covered with colourful beads and having a silver handle. The text also notes that they are commonly used as wall decorations, showing their decorative importance in modern times. This association illustrates how regional craft specializations shape pankha varieties. In Gujarat’s case, beadwork skills and materials influence how fans look and how they are used in homes and cultural spaces.
The chapter states that Kutch is recognised for hand-stitched leather hand fans. These are decorated with thread and wool at their seams, highlighting both strong material choice (leather) and detailed finishing work. This example shows a regional variation where stitching and seam decoration become important design features. It also supports the chapter’s idea that villages and towns created their own traditional pankhas with distinct materials and intricate designs. Kutch fans represent how local craft traditions influence both function and aesthetics.
The chapter highlights that Gujarat’s industrious home-based women workers have worked tirelessly in the handicraft of pankha-making. They produce embroidered hand fans with traditional mirror work and cross-stitch embroidery in different shapes and sizes. This emphasizes the human effort behind craft traditions and shows how pankha-making can support livelihoods. It also connects to vocabulary from the chapter—“industrious” and “intricate”—by showing hardworking artisans creating detailed designs. The example helps students see handicrafts as skilled work with social and economic value.
In Bengal, the chapter says artisans make delicate pankhas from the beautiful milky-white spongy centre of the sola. It also mentions palm leaf hand fans that are locally referred to as “Tal Patar Pankha.” These palm leaf fans are easy to carry and are perpetually kept as an article of possession in Bengali households. This information shows how local materials (sola and palm leaf) shape regional fan styles. It also demonstrates the chapter’s theme of everyday cultural presence through traditional objects.
The chapter describes the Phadh hand fans of Uttar Pradesh as being adorned with pure gold, silver zari, silk, and satin frills. These luxurious materials and decorations suggest that the fans are crafted for beauty and status, not only function. This example supports the text’s point that pankhas became exotic and stylish goods over time. It also illustrates regional variation, where certain areas produce more ornate fans using expensive materials and decorative textile elements, reflecting local craft traditions and aesthetic preferences.
Beyond Rajasthan, Gujarat, and Bengal, the chapter mentions large palm leaf fans of Odisha and Bihar’s colourful and sturdy bamboo hand fans. It says these are recognised across India due to their antiquity and rarity. This shows how different regions are known for particular materials and construction styles. Palm leaf fans highlight lightweight natural crafting, while bamboo fans suggest durability and strong weaving or shaping. The mention of antiquity and rarity also indicates that these fans are valued as traditional heritage items.
The chapter notes that many tribes in India have adopted the handicraft of making handheld fans and created their own versions of pankhas. It describes how materials such as grass and metal are embedded into the fans using bamboo sticks and grass. It also mentions the use of geometrical patterns and combinations like white ink with red backgrounds to create multiple beautifully designed pankhas. This highlights both innovation and tradition in tribal craft, showing how design choices and materials express cultural identity.
For tribal versions of pankhas, the chapter specifically mentions the use of geometrical patterns. It also highlights a colour style: white ink and red background combinations. These design elements help tribes create multiple beautifully designed pankhas. This detail is important because it shows that pankhas are not only defined by material but also by visual language—patterns and colours that may carry regional or cultural meaning. It supports the chapter’s point that each place developed distinctive designs that set its fans apart.
The chapter warns that with time, and with the advent of technology and innovative creations, the beautiful culture of pankhas runs the risk of slowly losing its presence among Indians. As modern alternatives reduce the practical need for handmade fans, traditional knowledge and everyday use may decline. However, the text also suggests that pankha-making has transformed into a commercial business that can provide livelihood to artisans. This risk-and-response idea builds the chapter’s message about valuing crafts and taking steps to preserve them.
The chapter explains that pankhas were once made for personal use, but over time the handicraft transformed into a commercial business. In the present, it provides some form of livelihood to India’s artisans. It also notes that a slight increase in popularity and demand is influenced by the different versions of pankhas being crafted. This shows how traditional crafts adapt to markets: variety in design can attract buyers, while commercial platforms can help artisans sustain their work even as everyday functional use decreases.
To preserve the essence of pankha-making, the chapter suggests celebrating pankhas and appreciating the culture, stories, and artistry they invoke. This appreciation allows contemporary pankha makers to demonstrate their craft and regain popularity, while also giving them a commercial platform for sustainable livelihood. The text also mentions initiatives such as pankha-making workshops, both within and outside handicraft exhibitions, to spread awareness about the beauty and importance of this craft in India’s culture. These steps link cultural respect with practical support for artisans.
The chapter states that initiatives like pankha-making workshops—held within and outside handicraft exhibitions—help spread awareness about the beauty and importance of this craft in India’s culture. Workshops allow people to see techniques closely and understand the skill involved, while exhibitions provide a public platform to showcase regional varieties. The text also connects such initiatives to sustaining livelihoods by helping contemporary makers demonstrate their craft, regain popularity, and access commercial opportunities. In this way, awareness-building and market support work together to protect the tradition.