Breezing Through Time: The Evolution of Fans in India

The earliest references to fans can be found in the Ramayana dated between the 5th century BCE and the 3rd century CE. The epic mentions fly-whisks commonly known as chouries, chauries, or chamaras, which were used by attendants to fan deities in temples and nobility at the courts.

The chauri is a handheld implement used to fan or swat away insects. It is made up of long flowing fibres held together by a handle. The fibres come from materials such as palm leaf or most often hair from the tails of yaks and horses. These fibres are held together at the base of the handle, usually made of wood, precious metals, or ivory, and at times ornately decorated with different motifs and scenes. Carried by attendants, the chauri is frequently depicted in religious and royal iconography as a symbol of authority and reverence. Additionally, its use signified the individual's power, wealth, and divine favor. Thus, fans in Indian society were more than just tools for cooling; they were important cultural artifacts.

Fly-whisks have been consistently featured in sculptures and paintings throughout the ancient period. A notable example is the Didarganj Yakshi from the Mauryan period (320-180 BCE), depicted as a chauri bearer. Similarly, pillars from the ancient site of Bharhut (2nd century BCE) depict attendants holding fly whisks, fanning a central figure.

Additionally, terracotta sculptures from the Shunga period (2nd-1st century BCE) illustrate the use of fans made from palm leaves. For example, a sculpture of a lady found at Kaushambi is depicted holding a hand fan, believed to be made of palm leaf fronds.

A symbol of divinity, the fly-whisk continued to be featured in many sculptures, from panels at the ancient Buddhist site of Nagarjunakonda (2nd-4th century CE) to sculptures from the Kushana period (1st-3rd century CE).

During the Gupta period (4th-6th century CE), the fly-whisk, a symbol of royalty, was commonly depicted in sculptures, coins, and paintings. For instance, a coin dated to the 4th century CE, issued by Samudragupta (350-370 CE) at the time of his Ashwamedha Yagna (horse sacrifice), depicts a lady, presumed to be the Queen, holding a chauri in her right hand that rests on her shoulder.

Additionally, in the Ajanta Caves, which can be dated between the 4th and 7th century CE, the fly-whisk is depicted in both the sculpture of Buddha in Cave 1 and in the paintings found in other caves.

These fly-whisks hold a deep cultural and religious importance. In many religions, fans play a key role in rituals to honor deities. The act of fanning is seen as a gesture of respect and devotion, often elevating the fly-whisk to a sacred object.

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The fly-whisk, commonly seen in temples and other places of worship even today, is mentioned in the Visnudharmottara Purana (7th century CE) and appears in the sculptures of many medieval temples. Notable examples include the Garuda Brahma Temple (7th-8th century CE) in Telangana and the hero stones at the Kalleshvara Temple (9th century CE) in Karnataka. Further sculptural evidence of the chauri can be found in the Chennakesava Temple (12th century CE) in Belur, the Sun Temple at Konark (13th century CE), and the Meenakshi Amman Temple (15th century CE) in Madurai.

The arrival of the British in India significantly changed the use and perception of fans. While the fly-whisk remained popular among the princes and the hand-held fans among the people, the British popularised already existing hand-pulled fans also known as punkhas (pankhas)or punkahs. The word punkha or punkah came from the word pankh, meaning feather. The use of large fans typically made of cloth or palm leaves and suspended from the ceiling, became widespread. There were various types of fans featuring elaborate designs on the cloth, some of which were painted, with the ropes covered in silk. In large spaces like offices or courthouses, multiple punkhas could be connected and operated together using sturdy ropes, allowing them to swing uniformly in unison.

By the 1840s, hand-pulled punkhas were described as indispensable fixtures in European and affluent Indian homes. At this time, highly decorated hand-held fans were used by the aristocracy as part of their costume, as can be seen depicted in a painting by Raja Ravi Varma. While the punkhas became immensely popular, the chauri and morchal continued to feature in the lives of many regional principalities.

The introduction of mechanized table and ceiling fans in the late 19th and early 20th centuries gradually reduced the reliance on manual fans. These electric fans, initially imported and later manufactured locally, revolutionized cooling methods in India. However, the traditional fans did not disappear; instead, they continued co-existing with modern technology, especially in rural areas and among those who cherished their cultural heritage.

Even today, the chauri orfly-whisk and morchal hold significant cultural and religious importance and are commonly seen at temples and shrines. Interestingly, many former princely states of India incorporated the chauri into their dynastic emblems.

Hand-held fans, with the coming of electricity, have become a rarity in cities, where they are mostly decorative. However, in smaller towns and rural areas hand-held fans are an integral part of the inventory of most homes. Millions of people across the country rely on hand-held fans. The fans are also made of PVC (Polyvinyl chloride-a type of hard plastic) in addition to the traditional and handcrafted wooden, cloth, or bamboo fans, to stay cool in times of power outages. Despite the advancement in technology, fans, in their diverse forms, continue to hold an enduring presence in India, embodying a timeless blend of practicality, cultural heritage, and artistic expression.