Here is your paragraph on Sanjhi:
This is a festival of Vraja. Fifteen days after Janamashtami occurs the birthday of his beloved Radha, on the eighth day of the waxing fortnight of the lunar month Bhadrapada (August-September).
It is in this same fortnight that Sanjhi festival is celebrated. During this festival, young unmarried girls and married woman during the first year of her marriage collect flowers, pebbles, coloured paper, cloth, etc. and construct a new design on the walls of their homes daily.
The preparations must be complete in the evening. The name Sanjhi is a vernacular form of Sanskrit sandhya or twilight and indicates the evening worship of the completed figures. The name has also come to refer to the female figure of the designs, whose-husband is known as Sanjha.
This worship, for the purpose of obtaining a five husband, is popular throughout northern India, where it is practiced as the worship of Gauri, i.e. Parvati, the spouse of Siva. Parvati is a prime example of the ancient Mother Goddess, the fertile goddess of earth and increase. Each day materials such as flowers and leaves are collected and the previous day’s Sanjhi is eradicated.
The designs may be applied directly to the wall (in traditional village houses the wall is often made of earth and straw) but it is more usual for the decorative materials to be stuck into a background of cow-dung (often associated with goddess Sri, the auspicious giver of prosperity and increase) which is replastered daily-similarly, in an orthodox Brahman home, the kitchen floor is replastered daily with a thin mixture of cow-dung and water.
The young girls may each make their own Sanjhi, but group efforts seem to be more usual. There are fixed symbols for many of the events of the regular programme, but each artisan uses her own ingenuity in creating an overall effect which is to be pleasing to the deity, conceived as Sanjhi personified.
These are the designs to be created during the fifteen days:
On Bhadrapad Purnima (full moon) Viran (or Biran) Beti, Sanjhi’s parental home, is drawn and five thapiya (imprints of the palm of the hand) are made, symbolic of the coming of Sanjhi from her father-in-law’s house to her father’s house.
A woman seated in a doli (woman’s sedan chair or litter) is made, symbolic of Sanjhi’s arrival in her parental home.
A tivari, a building having three archways or openings, is made and Sanjhi is seated therein.
A caupar, a cross-shaped hoard for a dice game, is drawn.
Pan-supari, areca nut and spices wrapped in betel leaf, a traditional hospitable offering, is drawn.
A small basket filled with sweet is made; this, like each of the above, is symbolic of Sanjhi’s welcome and the hospitality she is offered.
An auspicious symbol, the svastika, is drawn.
Eight-budded flowers, symbolic of the adornment of Sanjhi, are designed.
A boat is drawn, for Sanjhi to go on a leisurely cruise.
Pan (supari) are again made, indicative of respect, luxuriousness and “what Sanjhi likes best”.
Twenty-one water chestnuts are drawn, for Sanjhi’s ekadasi (the fast traditional on the eleventh day of each fortnight) meal. One reference mentions a leaf plate and cup being made on this day for the sraddha or offering to the deceased ancestors which would take place on the following day.
Skirts and shawls are drawn (lehnga, phariya, orhni) for Sanjhi is adorned with beautiful clothing in her familial home.
Sanjhi is disturbed by the remembrance of her husband. To depict these emotions, a date-palm, stairway or a ladder, is drawn, with the feeling that Sanjhi climbs up on it to watch the road by which her husband would come.
A lame Brahman and a crow are drawn, which give indication of the arrival of Sanjha, Sanjhi’s husband.
Ekam, the new moon day. An especially elaborate representation, the kot (a castle or fort) or narvar kot, is made. It symbolizes the reunion of Sanjha and Sanjhi, whose faces are included therein. The kot is adorned with ornaments, kauri-s (cowrie shells), pieces of mirror, silver rupees; auspicious animals, such as elephants, are depicted around it. After the arati or worship in the evening, badhai, songs of congratulations, are sung.
When the fifteen days of worship have been completed, the remains of the wall drawings are gathered up; on the day of Dussehra (Dasahara), the celebration of the victory of Durga over the buffalo demon, the remains are consecrated to sacred waters, just as the images of goddess Durga (Mahisasurdardini) are thrown into river Ganges at Banaras, Bengal, Orissa, Assam, Tripura, Delhi and elsewhere after the Durgamahotsvam.