Pachisi

Pachisi

A game of Pachisi on a cloth board

Years active Ancient India to present Genres

• Board game
• Cross and circle game
• Race game
• Mind sport

Players 2–4 Setup time Negligible Playing time 30–60 minutes Chance Medium (dice rolling ) Age range 4+ Skills Strategy , tactics, counting , probability Synonyms Twenty-Five

Pachisi (/pəˈtʃiːzi/ pə-CHEE-zee, Hindustani : [pəˈtʃiːsiː] ) is a venerable cross and circle board game with roots sunk deep in Ancient India . If you’re interested in such things, it even merits a mention in the ancient text Mahabharata , though under the rather less evocative name of “Pasha.” The game itself is played on a distinctive board, typically rendered in the shape of a perfectly symmetrical cross – because apparently, even ancient pastimes required a touch of geometric precision. A player’s progress across this cruciform landscape is dictated by the rather unpredictable whims of six or, in some variations, seven cowrie shells. These aren’t your typical numbered cubes; these shells, when tossed as lots , reveal their value by the number of apertures facing upward, dictating the exact number of spaces one’s pieces are permitted to move. It’s a primitive form of probability in action, one might say, if one were inclined to be impressed by such things.

The very name of the game, Pachisi, is derived from the Hindi word paccīs, which simply means ’twenty-five’. This numerical designation isn’t arbitrary; it refers to the highest possible score a player can achieve with a single throw of the cowrie shells. Hence, it’s not uncommon to hear the game referred to simply as “Twenty-Five.” One might assume such a straightforward naming convention would be universal, but naturally, there are other iterations where the maximum achievable score extends to a somewhat more ambitious thirty. Humanity, ever striving for novelty, even in ancient games.

Beyond its original form, Pachisi has spawned a rather extensive family of descendants and close relatives. Chaupar is another well-known variant. In the Levant , particularly Syria , a game known as Barjis (or barsis) holds considerable sway. Travel to Spain and northern Morocco , and you’ll encounter Parchís , a clearly related, though distinct, version. Colombia offers its own take with Parqués . The Western world , with its penchant for commercial adaptation, has produced numerous mass-market iterations, including Parcheesi , Patchesi, the ever-apologetic Sorry! , and the ubiquitous Ludo . France boasts the jeu des petits chevaux , or ‘game of little horses,’ while Germany contributes the charmingly named Mensch ärgere Dich nicht (literally, ‘Man, don’t get angry’). There’s even a plausible, if unconfirmed, theory that this venerable Indian pastime might have influenced the development of the Korean board game Yunnori , potentially through the ancient kingdom of Baekje . It seems the human desire for structured competition, however trivial, knows no geographical bounds.

History

The lineage of Pachisi stretches back further than many might assume, suggesting that humans have been finding ways to distract themselves for millennia. Games bearing a striking resemblance to chaupar , complete with varying colour schemes and the ever-present dice , have been unearthed from Iron Age archaeological sites. Specifically, evidence from the Painted Grey Ware period, dating between 1100 and 800 BC, has been identified at locations such as Mathura and Noh. These findings offer a glimpse into the early forms of such strategic play. Further artistic representations, depicting cruciform boards, can be observed in the art reliefs of Chandraketugarh , which are dated to the 2nd to 1st century BC. These early depictions suggest the distinctive cross-shaped playing surface was already an established motif.

While there exists a 6th or 7th-century artistic representation often cited as depicting the deities Shiva and Parvati engaged in a game of Chaupar (a very closely related game), a closer examination reveals that it actually shows only dice and conspicuously lacks the distinctive cruciform board. One might infer that historical interpretation sometimes prioritizes narrative over strict factual accuracy. However, during a similar period, a board unequivocally identical to that used for Pachisi was discovered within the impressive Ellora Caves system, providing more concrete evidence of the game’s form.

Across continents, a Song dynasty (960–1279) document references a Chinese game known as Chupu (Chinese : 樗蒲; pinyin : chūpú). This text claims the game was “invented in western India and spread to China in the time of the Wei dynasty (AD 220–265).” While this could potentially link to Chaupar , the precise nature of the Chinese game remains somewhat ambiguous, with some scholars suggesting it might bear a closer resemblance to backgammon . The idea that Pachisi might have evolved from an even earlier game, Ashtapada , is certainly plausible given the shared region and general mechanics, but for now, it remains a theory lacking definitive substantiation. History, it seems, is often a collection of educated guesses and tantalizing fragments.

Large Ancient Garden Version – Fatehpur Sikri – India

Perhaps the most dramatic testament to the game’s historical significance comes from the imperial courts of India . As Louis Rousselet rather vividly documented, the game of Pachisi was played by the Mughal emperor Akbar not merely as a pastime, but as a spectacle of truly regal proportions. Imagine, if you must, the very court itself, meticulously divided into expansive red and white squares, serving as the gargantuan game board. In the center, an enormous stone, raised majestically on four feet, denoted the central Charkoni. Here, Akbar and his courtiers, presumably with a certain air of self-importance, would engage in this grand-scale version. Their “pieces” were not mere wooden tokens, but sixteen young slaves from the imperial harem, each adorned in the players’ distinct team colours, moving across the vast squares in accordance with the throws of the dice . It is said that the Emperor became so utterly enamored with playing the game on this magnificent scale that he commissioned the construction of a dedicated Pachisi court in all of his palaces. To this day, the architectural traces of these colossal game boards are still discernible at Agra and Allahabad (now Prayagraj ), serving as silent, rather ostentatious, monuments to an emperor’s peculiar recreational habits.

Irving Finkel , a scholar who has presumably seen enough ancient games to be thoroughly unimpressed, adds a dose of academic caution: “To date, these grandiose boards still represent the earliest secure evidence for the existence of the game in India. The game’s role in the history of India still remains to be investigated. It is often assumed that the gambling game that plays so significant a role in the Mahabharata , the classical literary epic, is pachisi , but the descriptions, such as they are, do not tie in with the game, and this conclusion is perhaps erroneous.” One must appreciate the meticulousness, even if it does deflate some of the more romantic historical notions.

In a more modern, and frankly less extravagant, development, the American toy and game company Transogram brought Pachisi to the mass market in 1938. They initially introduced a board game version under the rather generic title, Game of India, later rebranding it with the slightly more exotic, Pa-Chiz-Si: The Game of India. Because nothing says “ancient tradition” like a catchy, slightly misspelled, commercial label.

Players

Pachisi pieces in enamelled gold with precious stones , 18th century Mughal India , Khalili Collection of Islamic Art

Pachisi is designed for two, three, or four players. Typically, when four individuals are involved, they organize themselves into two teams, because nothing fosters camaraderie like strategic alliances in a board game . One team will traditionally command pieces of yellow and black, while their opponents will maneuver red and green pieces. The objective, as with most race games , is straightforward: the team that successfully navigates all of its pieces completely around the board and into the finish area first claims victory. A rather simple goal, complicated by human error and the fickle nature of cowrie shells .

Traditional Equipment

The core equipment for Pachisi is elegantly simple, a testament to its ancient origins. Each player is assigned four distinct pieces, traditionally shaped rather like miniature beehives . In some more expansive versions, this number can be increased to a rather overwhelming sixteen pieces per side, presumably for those who enjoy prolonged suffering. To prevent utter chaos, the pieces belonging to each player are clearly distinguishable by their colours: typically black, green, red, and yellow.

The movement of these pieces across the board is determined not by conventional dice , but by a set of six cowrie shells . These shells, small and naturally asymmetric, are tossed from the player’s hand. The number of shells that land with their openings (apertures) facing upwards indicates the number of spaces a player is permitted to move. It’s a charmingly organic way to introduce an element of chance . The outcomes and their associated probabilities for a six-cowrie throw are as follows:

As if six shells weren’t enough, some variations employ seven cowrie shells , introducing a slightly different set of values and turn-earning opportunities:

The playing surface itself is a work of art, often beautifully embroidered on cloth. Its defining characteristic is its cruciform shape. At the precise center of this cross lies a large square, known as the Charkoni. This central hub serves as both the initial staging ground for all pieces and their ultimate destination, the finish line. Extending from the Charkoni are four arms, each meticulously divided into three columns, with eight squares per column. It is along these columns that the players’ pieces meticulously progress throughout the course of play.

Scattered across the board are twelve specially designated “castle squares.” These are not merely decorative; they serve a crucial strategic purpose. Four of these fortified squares are strategically positioned at the very end of the middle columns of each arm, acting as final staging points. The remaining eight are located four squares inward from the end of the outer columns on each arm. The significance of these squares cannot be overstated: a piece resting on a castle square is immune from capture by an opponent. A small mercy in an otherwise cutthroat game of pursuit.

Gameplay

A beaded Pachisi game, The Children’s Museum of Indianapolis Pachisi being played in Tamil Nadu with tamarind seeds and stones

The fundamental objective, as previously established, is for each player to successfully guide all four of their pieces in a complete, counter-clockwise circuit around the board, ultimately returning them to the central Charkoni, and to do so before any of their opponents achieve the same. A race, then, but one fraught with opportunities for strategic blocking and tactical capture.

Before the actual race begins, the playing order is determined by a simple, yet effective, method: each player throws the cowrie shells . The individual who achieves the highest score from this initial throw earns the right to commence play. Turns then proceed in a predictable counter-clockwise direction around the board. In some variations, players are not even permitted to move a piece until they achieve a specific throw, such as a 2, 3, or 4, adding another layer of initial frustration to the proceedings.

Certain throws are considered “grace” throws, granting a player distinct advantages. If a 6, 10, or 25 is thrown (or 10, 25, or 35 in the seven-cowrie variant), the player immediately earns a grace. This allows them to introduce one of their pieces from the Charkoni onto the main playing board. Crucially, after introducing a piece, the player also gets to repeat their turn. In versions where 7 or 14 are grace throws, these also grant an extra turn, but they do not allow for the introduction of a new piece. A player must have at least one piece actively on the board to be eligible to benefit from a 7 or 14 throw.

It’s important to clarify the mechanics of introducing new pieces: when a 10, 25, or 35 (or 6, 10, 25 in the six-cowrie version) is thrown, the newly introduced piece does not directly land on the corresponding square number. Instead, it is placed on square number 1, which serves as the very first square for that player. Any remaining movement points from the grace throw are then applied to this newly introduced piece, or another piece already on the board. For example, if a player throws a 25, they introduce a piece to square 1, and then have 24 remaining points to move that piece or any other piece. Once all a player’s pieces have been introduced onto the board, subsequent throws of 10, 25, or 35 simply allow the player to move an existing piece by those respective numbers.

A player’s first piece, once successfully introduced onto the board via a grace throw, is then free to move on any subsequent throw. The path for each player’s pieces is standardized: they begin by moving down the central column of their own arm of the board, then proceed counter-clockwise around the outer columns, and finally, make their way back up their respective central column to the Charkoni.

Players are generally permitted to have any number of their own pieces simultaneously present on the board. However, typically, only one piece may be moved with a single throw of the cowrie shells . A player also retains the option to decline moving any piece on a given turn, a choice that can be strategically vital or simply a sign of indecision. In some variations, the restriction of moving only one piece is lifted, allowing a player to distribute their movement points across multiple pieces. Furthermore, a rather unforgiving rule exists in some versions: if a player casts a value higher than any of their pieces are eligible to move (e.g., they need 3 spaces to finish, but throw a 10), that turn is automatically forfeited. A harsh lesson in precision.

Regarding square occupancy, it is usually permissible for multiple pieces belonging to the same team to occupy a single square. However, this communal spirit does not extend to opponents; a piece is strictly prohibited from moving onto a castle square that is already occupied by an opponent’s piece.

The game takes a more aggressive turn with the concept of capture. If a piece lands precisely on a square (excluding the sanctuary of a castle square) that is already occupied by any number of an opponent’s pieces, those unfortunate pieces are immediately captured, or “killed.” Captured pieces are unceremoniously returned to the Charkoni, where they must await another grace throw to re-enter the game. The player who successfully executes a capture is, in most versions, rewarded with an additional turn, a clear incentive for aggressive play.

Some variants introduce further complexities to the capture rules. For instance, a player may not be allowed to return their pieces to the Charkoni/home area unless they have successfully captured at least one of an opponent’s pieces. This forces a more combative approach. An even more intricate rule exists where, in a two-player scenario, if Player 1 captures a piece of Player 2, and then Player 2, on their immediate subsequent turn, manages to capture the same piece Player 1 just used, on the same square where the original capture occurred, then Player 1’s initial capture is invalidated. Player 1 would then be forced to recapture Player 2’s piece again to satisfy the requirement for returning home, while Player 2 is free to proceed to their Charkoni, unless this intricate capture-reversal scenario repeats itself. It’s enough to make one wonder if the ancient Indians had too much time on their hands.

Once a piece has completed its arduous journey around the board, it begins its final ascent, moving back up its central column towards the Charkoni. To distinguish these homeward-bound pieces from those just entering the fray, they are often symbolically laid on their side. A piece can only return to the Charkoni itself by a direct, precise throw of the cowrie shells ; no partial moves or leftover points will suffice.

A critical strategic element revolves around the castle squares. Four of these are deliberately positioned exactly 25 moves away from the Charkoni. This placement gives rise to a common and rather effective strategy: returning pieces will often linger on these safe castle squares, immune from capture, patiently awaiting a perfect throw of 25. Once that elusive 25 is thrown, the piece can then conclude its journey directly into the Charkoni, securing its position. This strategic interaction with the “25” throw is, in fact, the very origin of the game’s name.

For those who find the base game insufficiently challenging, some versions of Pachisi place an increased emphasis on the skillful manipulation of the cowrie shells – or perhaps, simply more elaborate rules to make things “exciting.”

• If a player has pieces close to the end and does not require a high-value throw, there are specific mechanisms to nullify an inconveniently high cast.
• Should a player throw a 10, 25, or 30, they must then consecutively throw either a 10, 25, or 30 two more times (for a total of three consecutive throws, including the original) to nullify that high-value outcome.
• Similarly, if a player casts a 7, they must consecutively cast a 7 two more times (again, three total) to nullify that throw.
• The same rule applies to a 14: three consecutive throws of 14 are required to nullify it.
• However, players can cleverly circumvent these nullification rules. Since three consecutive throws of 10, 25, or 30 in a single turn will nullify them, a player can strategically intersperse a 7 or 14 throw in between to maintain their turn without nullifying the high values. For example, a player could execute a sequence like: 25, 25, 14, 10, 30, 7, 25, 30, 7, 10, 14, 25, 3 – a rather dizzying display of luck and quick calculation.
• Finally, once all of a player’s pieces have been successfully introduced onto the board, an additional bonus comes into play. Every time a player subsequently throws a 10, 25, or 30, they are permitted to move their piece one additional square beyond the stated value. This bonus move is known as PYADA. For instance, if a player casts 25, 25, and 3 in a turn, and all their pieces are already on the board, they would move a total of 55 squares (25 + 25 + 3 + 1 PYADA for the first 25 + 1 PYADA for the second 25). Because, clearly, some players just need more ways to win.

See also

• Ashta Chamma
• Ashte kashte —a game with similar rules
• Chaupur
• Patolli
• Parqués
• Mensch ärgere Dich nicht
• Aggravation
• Ludo
• Sorry! (game)
• Trouble