hindi essay sankardev

श्रीमंत शंकरदेव पर निबन्ध | Essay on Nobel Sankar Dev in Hindi

श्रीमंत शंकरदेव पर निबन्ध | Essay on Nobel Sankar Dev in Hindi!

जब भारत में हुमायूँ और शेरसाहका शासनकाल चल रहा था, उस समय देश के विभिन्न भागों में हिन्दू और सूफी धर्म के अलग-अलग सम्प्रदायों का जन्म हो रहा था । सूरदास, कबीरदास, तुलसीदास, गुरु नानक, चैतन्य, रामानन्द आदि महापुरुष अपने धार्मिक विचारों का प्रचार करने की कोशिश कर रहे थे । उसी काल में असम की पवित्र भूमि पर अवतार लिया था श्रीमंत शंकरदेव ने ।

2. जन्म और शिक्षा:

श्रीमंत शंकरदेव का जन्म सन् 1449 ई. में नगाँव जिले के आलिपुखुरी गाँव में हुआ था । उनके पिता का नाम था कुसुम्बर शिरोमणि भूइयाँ और माता का नाम सत्यसंध्या था । भगवान शिव के वरदान से पुत्र प्राप्त होने के कारण उनका नाम माता-पिता ने शंकर रखा । जन्म के कुछ समय पश्चात् माता-पिता का देहांत हो जाने के कारण उनका पालन-पोषण दादी खेरसुती ने किया ।

बालक शंकर बचपन से ही बड़ी तेज बुद्धि के थे । उनको गुरू महेन्द्र कन्दत्नि की पाठशाला में प्रवेश दिलाया गया, जहाँ उन्होंने कुछ ही वर्षों में व्याकरण रामायण महाभारत पुराण वेद ज्योतिष आदि विद्याओं का अध्ययन पूरा कर लिया । इसके बाद उनका विवाह सूर्यवती नामक कन्या से हुआ ।

3 . कार्यकलाप:

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32 वर्ष की आयु में आप देशाटन (Tour) के लिए निकल पडे और गंगाघाट, गया, श्रीक्षेत्र, वृन्दावन, गोकुल, मथुरा, सीताकुंड, बद्रिकाश्रम आदि स्थानों का भ्रमण किया । 12 वर्षों के देशाटन में उनकी भेंट देश के अन्य बड़े महापुरुषों से हुई ।

दूसरी बार उन्होंने दक्षिण भारत के संतों से भेंट की और धर्म के सच्चे स्वरूप का अध्ययन किया ।असम लौटकर उन्होंने एकशरण नाम धर्म की स्थापना की । इसे केवलीया या महापुरुषीया धर्म भी कहते हैं । उन्होंने मूइर्तपूजा के बदले भगवान के नाम को अधिक महत्व दिया ।

इसलिए नामघरों में मूर्तिपूजा नहीं होती । उन्होंने भाओना अर्थात् पौराणिक नाटकों के अभिनय तथा नृत्य-संगीत के द्वारा धर्म प्रचार किया और अनेक पुस्तकों की रचना कीं । सन् 1568 ई. में भीषण ज्वर के कारण उनका देहान्त हो गया ।

4. उपसंहार:

श्रीमंत शंकरदेव ने असम के लोगों को अशिक्षा और अंधविश्वास (Superstition) से दूर रहने की शिक्षा दी और ज्ञान का सच्चा स्वरूप दिखाया । आज भी असम के नामघरों में मणिकूट (गुरू आसन) पर उनके लिखे कीर्तन-घोषा-श्रीमद्‌भागवत की प्रति रखी जाती है और उसी की पूजा की जाती है जिससे श्रीमंत शंकरदेव आज भी हमें सच्चाई, सादगी, ज्ञान और एकता का संदेश देते प्रतीत होते हैं ।

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Biography of Srimanta Sankardev – Assamese polymath; a saint-scholar

Mahapurush Srimanta Sankardev was a great saint, scholar, poet, playwright, dancer, actor, musician, artist, reformer and one of the important figure in the cultural and religious history of Assam, India.

Biography of Srimanta Sankardev

Table of Contents

Early Life of Srimanta Sankardev

Education of srimanta sankardev, marriage life and pilgrimage of srimanta sankardev, ekasarana dharma, dance form of srimanta sankardev.

Sankardev, was born into the Shiromani family in Alipukhuri, Nagaon in 1449. His father’s name is Kusumbar Bhuyan and mother’s name is Satyasandhya Devi. Srimanta Sankardev’s real name is Sankaravara. His family members, including his parents Kusumbar Bhuyan and mother Satyasandhya Devi, were Saktas. Sankardev lost his parents at a very young age. He lost his father when he was just seven years old. Sankardev was raised by his grandmother Khersuti.

Also Read : Biography of Tulsidas

Srimanta Sankardev attended Mahendra Kandali’s chartasaal (school) at the age of 12 and he soon wrote his first verses Karatala-Kamala. The complete poem was written before he was taught the vowels and is often cited as an example of the early flowering of his poetic genius. He stayed at the tol during his teens, and studied grammar and Indian scriptures. It is generally believed that he wrote his first work, Harishchandra upakhyan, while he was at the tol. When he was at the tol pursuing his education at Mahendra Kandali’s chartasaal (school), Mahendra Kandali changed his name to ‘Sankardev’ from Sankaravara. Sankardev soon mastered the major scriptures and left the tol in his late teens to attend to his responsibilities as the Shiromani Bhuyan . He came to be known as the Dekagiri among his subjects and admirers.

Sankardev married his first wife Suryavati when he was in his early 20s and after three years their daughter Manu was born, but his wife died about nine months later.

It is possible that the death of his wife increased his already existing spiritual inclination and he left for a twelve year long pilgrimage, after his daughter was married to Hari. He handed over the maintenance of his household to his son in law Hari, the ‘Bhuyan Shiromaniship’ to his grand uncle Jayanta and Madhav and began his journey in 1481. He was accompanied by his seventeen others including his friends his associate Ramaram and his teacher Mahendra Kandali . At this point of time he was 32 years old. He travelled to Puri, Mathura, Dwaraka, Vrindavan, Gaya, Rameswaram, Ayodhya, Sitakunda and almost all the other major Vaishnavite religion in India . He seem to have spent many years at Jagannath-kshetra at Puri, where he read and explained the Brahma Purana to the priests and lay people. At Badrikashram in 1488, he composed his first Borgeet – Mana Meri Ram Chananahi Lagu in Brajavali language. He returned home to Alipukhuri after 12 years. During his pilgrimage, he became the part of a Pan-Indian Bhakti movement. On his way back from his pilgrimage Sankardev refused to take back the Shiromaniship, though on the request of the elders, he took responsibility of a hundred families but he soon handed over the responsibility to his son in law Hari.

On his grandmother’s insistence, he married Kalindi at the age of 54. Finally he moved back to Bordowa and constructed a temple (Namghar) in 1498, a thatched house where he could meet with people, discuss religion matters and hold prayers, and preach. He began teaching the residents about Bhakti. In the meantime, the Baro-Bhuyans were getting weak politically and Bordowa was attacked by the neighboring tribes. Sankardev had to move again from place to place. He met his spiritual successor Madhaavdev at Dhuwahat. But once on the charge of derelication of duty, Sankardev’s son-in-law Hari and Madhavdev was arrested. Later Hari was executed. Mdhavdev was imprisoned for a year. This incident pained Sankardev. Sankardev and his followers escaped from the Ahom kingdom and went to Koch kingdom. After moving to Koch kingdom, Sankardev setteled at Patbausi near Barpeta in the Koch Kingdom . At Patbausi , he constructed a Kirtanghar.

In 1550, Sankardev once again left for a pilgrimage with a large party of 117 disciples that include Madhavdev, Ramrai, Ramaran, Thakur Ata and others. Thakur Ata had to return just after one day of journey. Madhavdev had to take the entire responsibility of logistics. He on the request of Sankardev’s wife Kalindi urged him to return from Puri and not proceed to Vrindavana. Sankardev and the group returned to Patbausi within six months in 1551.

Ekasarana Dharma is a neo-Vaishnavite religion founded in the 15th – 16th centuries by Srimanta Sankardeva. It focus on devotion (bhakti) to Krishna in the form of congregational listening (sravan) and singing his name and deeds rather than Vedic ritualism. The major scared text of this religion is the Bahagavat of Sankardeva, which was translated from the Sanskrit Bhagavata Purana by Srimanta Sankardev. The Ekasarana Dharma religion emphasized religious practices of bhakti rather than systematically impounding philosophical viewpoints. Krishna the supreme entity himself is the adoration in Ekasarana, according to Bhagavata Purana.

The dance form established by Mahapurush Srimanta Sankardev is Sattriya Dance in the 15th and the 16th century, it has its origin in the ‘Sattras’ , and is now among the classical dance forms of India. The Sattras were established for the propagation of Vaishnavism and later they became the religious, cultural and social hub for the people of Assam. Initially a part of ‘Ankia Naats’ , this dance forms derived from its name from the word ‘Sattra’. This dance form was originally performed in the Sattras and in the Namghar by the male Bhokots as a part of religious rituals and for spreading the philosophy of Vsishnavism and was confined within the four walls of the Sattras for several centuries. Later eminent personalities like Late Dr, Bhupen Hazarika, Late Moniram Dutta etc., contributed in developing and bringing the Sattriya dance to the outer world. A revolutionary change took place when female dancers started performing this art form. Finally in 15th November 2000, the Sangeet Natak Akademi declared Sattriya Dance as a classical dance form of India. Although certain devout Sankarite calls this dance form as Sankari dance.

Literary works of Srimannta Sankardev

Sankardev produced a large body of work. His language is lucid, his verses lilting, and he infused bhakti into everything he wrote. His magnum opus is his Kirtana-ghosha, a work so popular that even today it is found in many household in Assam. It contains narrative verses glorifying Krishna meant for community singing. For most of his work, he used the Assamese language of the period so the lay person could read and understand them. But for dramatic effect in his songs and drama he used Brajavali medieval Maithili. His holy songs are referred to as ‘Borgeet’. His plays are known as ‘Ankia Naat,’ and Sattriya Dance was a feature of them at the time. Srimanta Sankardev adopted the art of tale telling through drama in the Ankiya Naats,’ largely illustrating the lives of Lord Krishna and Lord Rama. ‘China Yatra’ was his debut dramatic piece. His China Yatra is regarded as one of the first open – air theatrical performances in the world. China Yatra was probably a dance drama and no text of that show is available today. Innovations like the presence of a Stradhara (narrator) on the stage, use of masks etc., were used later in the plays of Bertolt Brecht and other eminent playwrights. These cultural traditions still form an integral part of the heritage of the Assamese people.

Other literary works include the rendering of eight books of the Bhagavata Purana including the Adi Dasama (Book x), Harishchandra-upakhyana (his first work), Bhakti-pradip, the Nimi – navasiddha – samvada (conversation between King Nimi and the nine Siddhas), Bhakti-ratnakar (Sanskrit verses, mostly from the Bhagavata, compiled into a book), Anadi-patana (having as its theme the creation of the universe and allied cosmological matters), Gunamala and many plays like ‘Kaliya Daman,’ ‘Patni Prasad,’ Keli Gopal,’ ‘Rukmi ni Haran,’ ‘Parijat Haran,’ and ‘Rambijay.’ ‘Kurukshetra yatra’ and ‘Srirama vijaya.’ There was thus a flowering of great Bhakti literature during his long life of 120 years.

When he started school at the age of twelve, he wrote a poem in praise of Lord Vishnu called ‘Karatala Kamala Kamala Dala Nayana’ without using any vowels because he had only learned consonants up to that point.

Sankardev left an indelible imprint on Assam’s religious and cultural life. Through his teachings, he united various castes and groups of people into a single cultural unit. He established monasteries in even the most remote villages, bringing Bhakti to the common people. When all of our nationalist leaders and scholars claim Assam to be an indivisible part of the Indian nation, they rarely mention this great nationalist saint, both during the freedom movement and today. This Assamese polymath died on 23 August 1568 at the age of 118 at Bheladonga.

1. When and where was Mahapurush Srimanta Sankardev born?

Ans: Srimanta Sankardev was born on 26 September,1449 at Alipukhuri, Nagaon.

2. What is the religion by Srimanta Sankardev?

Ans: Ekasarana Dharma.

3. Who is the teacher of Srimanta Sankardev?

Ans: Mahendra Kandali.

4. Who is the successor of Sankardev?

Ans: Madhavdev.

5. Who wrote Kritan Ghosa?

Ans: Mahapurush Srimanta Sankardev.

6. What is the dance form established by Srimanta Sankardev?

Ans: The dance form established by Mahapurush Srimanta Sankardev is Sattriya Dance.

7. Who composed Borgeet?

Ans: Srimanta Sankardev.

8. How many Borgeet’s were composed by Sankardev?

Ans: Sankardeva composed about two hundred and forty borgeets, but a fire destroyed them all and only about thirty four of them could be retrieved from memory.

9. When did Srimanta Sankardev died?

Ans: Srimanta Sankardev died on 23 August 1568 at the age of 118 at Bheladonga.

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Srimanta śaṅkaradeva: the architect of greater assamese society.

In the annals of Assam’s history, society, culture, literature, arts and religious beliefs, Śaṅkaradeva occupies a significant and elevated position. Śaṅkaradeva was a polymath whose contribution to the greater Assamese society was both multitudinous as well as multifaceted. His contributions to the cultural, spiritual and religious spheres unveiled a new age of literature, art and culture in Assamese society. The spiritual and religious outlook and ideals of Śaṅkaradeva were expressed through the principles of eka-sarana-nama-dharma; the bhakti tradition which was initiated and propagated by him during the 15th century.

The bed of Kalindi (wife of Sankaradeva) preserved in the Patbaushi Satra, Barpeta

Śaṅkaradeva was born to a family of Siromani (overlord of Bhuyāns) in October 1449 to parents Kusumvara Kāyastha Bhuyān and Satyasandhā. However, due to the untimely demise of his parents, he was brought up by his grandmother, Khersuti. He was enrolled in a tola (school), and placed under the care and responsibility of Mahendra Kandali, where he studied and eventually mastered several ancient texts. After completing his education, he was entrusted with the responsibilities of the Siromani Bhuyān. He settled down to a life of a householder after marrying Suryāvati, and they were blessed with a daughter, Manu or Haripriyā. However, tragedy struck when his wife passed away leaving him grief-stricken.

He undertook his first pilgrimage in 1481. He traversed several sacred places in North India which eventually left an indelible mark on his social, spiritual, philosophical and religious outlook. It was during his travels that he composed his first Borgeet at Badarikāshrama. The travels and the experiences he encountered subsequently helped in the formulation of the Neo-Vaiṣṇava bhakti doctrine. His spiritual outlook took a broader turn with the arrival of the complete copy of the Bhāgavata Purāṇ by Jagadīśa Mīsra. These events eventually had immense implications in Śaṅkaradeva life and spiritual outlook. After the return from the pilgrimage, Sankaradeva was again entrusted with the responsibilities of Siromani Bhuyān. However, he refused to take it and instead completely immersed himself in the propagation of the message of Bhakti. After his second marriage (to Kalindi), Sankaradeva actively propagated his bhakti creed. In 1550, he undertook another pilgrimage.

In his long and eventful life, Sankaradeva had to encounter several opponents in the form of Kings and other orthodox sections of the society who vehemently opposed his new religious order. Therefore, he had to constantly shift locations. The great polymath passed away in 1568.

Sankaradeva’s philosophical and religious aspects of the Neo-Vaiṣṇava Bhakti traditions

The religion and bhakti tradition propagated by Śaṅkaradeva is known as the eka-sarana-nama-dharma. It is also known as the Mahapurushiya dharma. The cardinal principle of the eka-sarana-nama-dharma lay in the worship of a single deity, Viṣṇu, primarily in his incarnation as Krishna. Etymologically, the term ‘sarana’ implies seeking refuge, shelter or protection. Hence, the essence of the eka-sarana-nama-dharma lay in seeking refuge in one God. The teachings of Śaṅkaradeva and the religious tenets propagated by him were primarily based on Bhāgavata-purāṇa. Additionally, Bhāgavata-gitā and Vāmaṇa-purāṇa amongst other religious texts, also influenced his teachings and conceptualisation of the bhakti creed.

One of the major objectives of Śaṅkaradeva was to remove all the external aspects which had come to characterise the religious sphere of Assam. On the contrary, he emphasised the observance of only two forms of bhakti, out of the total of nine forms: śravana (essentially implying hearing the name of God) and kīrtana (essentially implying chanting the name of God). In order to propagate the philosophical and spiritual tenets of the Neo-Vaiṣṇava bhakti traditions, he developed certain practices and institutions. These included the establishment of cultural institutions like Namghars and Satras which formed centres for congregational prayers and emphasised the maintenance of internal and external purity. These institutions still play a pivotal role in promoting literature, music, theatre, dance, manuscript-writing, painting, crafts, amongst others.

Painting of Sankaradeva by Kalaguru Bishnu Prasad Rabha

The significance of the religious philosophy and spiritual outlook could be better comprehended if they are juxtaposed with the aspects of society which Sankaradeva had envisaged as a social reformer. An important aspect of the bhakti traditions as propagated by Śaṅkaradeva included the message of universal brotherhood. This aspect played a significant role in the formation of Assamese society, especially in the context of its fragmented past. The society of Assam is heterogenous and composed of people belonging to multitudinous linguistic, religious affiliations, tribes, and linguistic communities. The socio-cultural and religious fabric of the community consisted of several esoteric rituals and practices. In the face of such divisive conditions, Śaṅkaradeva ’s message of bhakti assisted in the creation of a community by uniting and integrating the disparate elements within the precincts of the Neo-Vaiṣṇava community. Though faced with intense opposition from the orthodox section of society, Śaṅkaradeva attempted to propagate his message amongst the masses through his literary compositions.

Kirata Kachari Khasi Garo Miri Yavana kanka goala Asama malaka Rajaka Turuka Kuvacha mlechcha chandala Ano Jata nara Krishna sevakara Sangata Pavitra haya (Bhagavata 1270/1271)

Translation: The Kiratas, the Kacharis, the Khasis, the Garos, the Miri (Misings), the Yavanas, the Goalas, the Asamas (Ahoms), the Malukas, the Rajakas, the Turukas, the Kuvachas, the Mlechchas, the Chandalas, and others become pure in the company of the devotees of Krishna.

Kukura Srigala gardhabaro atma Rama Janiya savako pari Kariba pranama. (Kirtana 1823)

Even the dogs, srigalas, and asses are verily God. Knowing this, respect and salute them all.

Srimanta Śaṅkaradeva had attempted to bring significant reforms in the society, especially in the context of erasing differences that existed among people. He established Namghars where people from diverse castes and communities could gather and engage in śravana and kīrtana. One of the most significant aspects of his religious philosophy was the emphasis laid on the incorporation and accommodation of people from the diverse elements of the society within the folds of the Neo-Vaiṣṇava order. He had translated several sacred Vaiṣṇava books into Brajavali, propagated amongst the masses and attempted to remove the external aspects associated with the performance of rites and rituals.

Śaṅkaradeva’s contributions to the field of literature, art and culture

One of the most important legacies of Śaṅkaradeva to the Assamese society was in the field of literature, art and culture. His contributions are a reflection of extraordinary literary skills and genius. His literary compositions include translations, devotional literature, doctrinal treatises, devotional songs, compilations and adaptations, amongst others. He used the Brajawali language to compose his literature.

Image of Gunamala written on a Sanchipaat

The Bhāgavata-purāṇa formed the basis of the religious tenets of Śaṅkaradeva. He had translated eight out of twelve books of the Bhāgavata-purāṇa. Amongst all the renderings, the Adi Dasama, i.e., the first half of the tenth section, which dealt with Krishna’s early childhood days and his playful antics, was the most popular. He had also composed Nimi Nava Siddhi Samvāda, which was a doctrinal treatise based on the 11th chapter of the Bhāgavata. One of the most unique compositions of Śaṅkaradeva was Gunamala, which was composed by him in a single night. It contains the essence of the Bhāgavata-purāṇa in six kirtans. One of his earliest compositions included Hariścandra-upākhyāna and Rukmini Harana Kavya. Several scholars are of the opinion that his literary composition Kīrtana-ghosā, was his magnum opus. The Kīrtana-ghosā was a compendium of kīrtanas or devotional songs which were primarily meant for congregational prayers. The Kīrtana-ghosā is one of the four sacred texts and is considered to be of utmost reverence by the Assamese community. It is sung during the daily congregations in the Namghars. His other compositions include Bhakti Pradipa, where he denounces the worship of deities other than Krishna; the translation of the Uttara-Kāṇḍa part of the Rāmāyaṇa (added as an additional part of the Madhav Kandali’s Saptakāṇḍa Rāmāyaṇa); Bhatimas (a form of poetry innovated by Sankaradeva which are sung in the praise of a guru or God) in praise of Lord Naranarayana; Borgeets (devotional songs); Ankiya Naats , amongst others.

Śaṅkaradeva’s contributions to the field of performing arts remain unparalleled. Significant amongst them include the conceptualisations of Ankiya Naats (plays), Borgeets, Bhaonas, and Sattriya style of dance .

The Ankiya Naats are plays introduced by Śaṅkaradeva that serve as a medium of propagation of the tenets of Neo-Vaishnavism. These are a unique creation composed to blend and juxtapose religious philosophy, indigenous forms of entertainment and technicalities derived from classical Sanskrit dramas. His first dramatic performance was Cihna Yatra which was staged in a painted setting. This play which he had composed during his early years is however not extant anymore. He had composed six Ankiya Naats, including, Kāli Damana Yātrā, Patnī-Prasād, Keli Gopāla Nāṭaka, Rukmiṇī Haraṇa Nāṭa, Pārijāta Haraṇa Nāṭaka and Śrī Rāma-Vijaya Nāṭa. These plays were composed in Brajavali and were based on several Vaiṣṇava scriptures. A unique characteristic of the Ankiya Naats is that these are one-act plays and are devoid of any divisions. The dramatic performance of the Ankiya Naats is called Bhaona, and these are performed within the premises of a Namghar on certain special occasions. They are also supplemented with the Sattriya dance form. Sattriya has a classical base and is performed with technicalities and rules of rhythm, presentation and singing.

Borgeets or the devotional songs were another significant contribution of Śaṅkaradeva. They form one of the living traditions and legacies of Śaṅkaradeva, which are sung by people to date. The Borgeets,composed in Brajavali, are based on ragas and talas. The Borgeets are accompanied by musical instruments and sung to melodious tunes. According to Katha Guru Carita (biography of Śaṅkaradeva and other Vaiṣṇava saints), the total number of Borgeets amounted to 240.

Another important contribution of Śaṅkaradeva was in the field of painting. One of the earliest references to his painting skills was during the staging of the play Cihna Yatra. Another important specimen of art he was associated with is the Vrindavani Vastra , which was presented to King Naranarayana. The Vrindavani Vastra contained several scenes from Krishna’s life along with a caption for each miniature in a cloth of 180 ft. Chitra Bhagavata is another such compilation of paintings which were the illustrations of the Tenth book of the Bhagavata Purana.

Vrindavani Vastra

Śaṅkaradeva’s contribution to the field of the religious and socio-cultural fabric of the greater Assamese community is unparalleled. His role as a propagator of Neo-Vaishnavism holds importance not only in the context of Assam but also in the history of bhakti traditions across the country.

Bordowa Than: the first than established by Sankaradeva

Indian Institute of Technology Bombay

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Mahapurush Srimanta Sankardev

The great Vaishnavite saint and reformer Srimanta Sankardev was born in Alipukhuri, Nagaon in 1449. His father was Kusumbar Bhuyan and his mother’s name was Satyasandhya.Mahapurush Srimanta Sankardev was a saint, scholar, playwright, social and religious reformer is a colossal figure in the cultural and religious history of Assam. He was destined to play a significant role in preaching to humanity and protecting human religion. ‘Ek Sarania Nam Dharma’ preached by him believed in worship of Lord Vishnu. Mahapurush Srimanta Sankardev was a great scholar and literacy genius.

His major literacy creations are the ‘Kirtan Ghosa’, ‘Gunamala’ etc. The holy songs written by him are known as ‘Borgeet’. The dramas written by him are known as ‘Ankia Naat’ and Sattriya Dance at that time was a part of it. In the ‘Ankiya Naats’ Srimanta Sankardev used the style of story telling through drama, mostly depicting the life of Lord Krishna and Lord Rama. The first dramatical work by him was ‘Chihnajatra’. The various ‘Ankia Naats’ written by him are ‘Kaliya Daman’, ‘Patni Prasad’, ‘Keli Gopal’, ‘Rukmini Haran’, ‘Parijat Haran’ and ‘Rambijay’ naat. When he started going to school at the age of twelve, he wrote a poem on the praise of Lord Vishnu -‘Karatala Kamala Kamala Dala Nayana’ without using any vowels as he had learnt only the consonants till that time.

The ‘Sattras’ or the monasteries set by the Vaishnavite saint developed as the hub of religious, spiritual and cultural life of the people of Assam. Srimanta Sankardev used the charm of art and culture to spread his philosophy of monotheism i.e. Vaishnavism, so that it could be used as a medium of instructions. The chief disciple of Srimanta Sankardev was Sri Sri Madhavdev, who also worked for spreading Vaishnavism and contributed by his literacy works including ‘Nam Ghosa’, ‘Bhakti Rattna’ etc.

The great saint died at the age of 120 years in 1568 in Koch Bihar.

Glimpses of his literary works :

Karatala Kamala Kamaladala Nayana (as in wikipedia)

In Assamese script কৰতল কমল কমল দল নয়ন। ভব দব দহন গহন-বন শয়ন ॥ নপৰ নপৰ পৰ সতৰত গময়। সভয় মভয় ভয় মমহৰ সততয়॥ খৰতৰ বৰ শৰ হত দশ বদন। খগচৰ নগধৰ ফনধৰ শয়ন॥ জগদঘ মপহৰ ভৱ ভয় তৰণ। পৰ পদ লয় কৰ কমলজ নয়ন॥[1][4]

In Latin script Karatala kamala kamaladala nayana | Bhavadava dahana gahana vana sayana || Napara napara para satarata gamaya | Sabhaya mabhaya bhaya mamahara satataya || Kharatara varasara hatadasa vadana | Khagachara nagadhara fanadhara sayana || Jagadagha mapahara bhavabhaya tarana | Parapada layakara kamalaja nayana ||[4]

English translation Thy palm is like the lotus. Thine eyes are like the lotus petals. Thou art the consumer of worldly afflictions. Thou art the sleeper in deep forest. Thou art omnipresent and inner soul of all. Thou constantly removest my fear and vouchsafest my safety. Thou art the wielder of large swift arrows. Thou art the destroyer of the ten-headed demon. Thou art the rider of the bird (Garuda) and the uplifter of the mountain. Thou art the reposer on the hooded serpent (Ananta). Thou art the dispeller of worldly sins. Thou art the saviour from earthly grief. Thou art the giver of final beatitude. O lotus-eyed Lord (I pray thee)

Depicting the ‘Fanadhara Sayana’.Thou art the reposer on the hooded serpent (Ananta).

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Srimanta Sankardeva -The Reformer, Guru, Saint, and More..

Srimanta Sankardeva was a divine personality whose contributions and works are still shining in Assam’s history. He has developed several new aspects in the field of art and literature which people still follow. Srimanta Sankardev was a devotee of Lord Krishna and believed in Ekasana and taught people the same.

Introduction

Srimanta Shankardeva was a remarkable personality of his time. He tried and achieved so many arenas. He was a great contributor to the creative field as he was a great dancer, music player, actor, and even playwright. Not just a creative field but he is also well acknowledged as an active social-religious reformer, a saint scholar, and a poet.

He hails from the beautiful state of Assam and his name shines as an integral part of Assam’s history, culture, and holy past.

Srimanta Shankardev was born at Nagaon in Assam in the year 1449. He has been a great contributor to people from new forms of music to philosophies and masterpieces of poems.

His original name was Shankaravara. His tutor Mahendra Kandali changed his name to Shankardeva while he was in school.

Srimanta Madhavdev adapted tales of Sankardeva in his life, and the pursuit was followed by his pioneers.

There are two sects in terms of biographies distinguished early and later. The early group is those of Daitiyari Thakur, Bhushan Dwija and the latter group is of those like  Guruvarnana by Aniruddha Das.

In widespread belief, Shri Shankardeva is considered an embodiment of Lord Vishnu, entailing Daityari Thakur, the earliest. Although that biological literature is of the notion that Srimanta Shankardeva had metaphysical powers and there have been instances of supernatural occurrences.

There is an inclination of examining Bhagavata in Sankardeva’s life. The collection of all the biographies are a little confusing as they are all full of paradoxes.

Srimanta Shankardeva’s parents Kusumvar Bhuyan and Satyasandhya Devi were worshippers of Shakti. He belonged to a Kayastha family. His family was that of autonomous landlords. He saw his father’s demise at the young age of 8 years because of smallpox. His mother departed after his father died. After that, Srimanta Sankardeva was brought up by his grandmother, named Khersuti.

Shankardeva was a genius since his very childhood. He began going to school at an age of 12 years. At the time, he shortly wrote verses of his first-ever poem, even when he only knew the first vowel. Along with that, he was a great swimmer too. It is said that he could swim across the river Brahmaputra. In his early life, he was an active yogi but later he gave up yoga.

He comprehended many scriptures before taking off from his school in his late teens and took the charge of Shiromani Bhuyan. He was loved by his admirers and called Dekagiri.

Since his village Alipukhuri became crowded he shifted to Bordowa. And there he married his first wife Suryawati in his early 20s. He was blessed with a daughter after three long years. Unfortunately, his wife died after nine months of giving birth. The death of his wife ignited and increased his religious bent and he decided to go on a twelve-year voyage.

After her daughter married a Bhuyan son named Hari. He surrendered his household to his son-in-law and his Bhuyan Shirmonship to his grand uncles named Jayanta and Madhav.

With seventeen others he started his journey and went to different places like Puri, Ayodhya, Gaya, and Rameshwaram. As a follower of the Vaishnava religion, he went to most of the places that are the major centers of it. He has spent a fair amount of time in the Jagganath temple of puri, narrated the Brahma Purana, composed bhakti songs, and then returned to his old home, Alipukhuri.

He subsequently became an active member of the Bhakti movement and played an important role in its upliftment. He for a short time took the responsibility of gomastha. Since his elder insisted after his return from pilgrimage. But soon handed it over to his son-in-law Hari.

After this, at his grandmother’s request, he remarried at the age of 54 a woman named Kalindi. With his new wife, he returned to his hometown Bordowa and built a temple called Devagriha in the place of his father’s house. People would come and have conversations about religion, pray and preach there. He also wrote songs like Rukmini Harana there.

Mithila Mishra gave him a copy of Bhagavata Purana and he described the Purana to Sankaradeva. Srimanta Sankardeva heard him with utmost awareness. This incident holds a lot of importance for the discovery of Ekasarana. It made Sankardeva realize that there is only one good, one Dharam that is Krishna and Naam.

Shri Shankardeva also built a Thaan in the year 1509. Although this place was relinquished for more than 100  years, finally it was again established by his granddaughter in law, Kanaklata.

He also played a huge role in resolving the issues between the Bhuyans and kacharis and urged them to move as instructed by the Ahoms across the Brahmaputra. He then resided in Gangmau for five long years. His eldest son Ramananda took birth here only.

Sankardeva has not been on one but two pilgrimages, he went on his second journey in the year 1550. Unlike the last time, there were a total of 117 people with him.

Madhabdeva, who was in charge of logistics, made the whole group come back from Puri and did not proceed towards Vrindavana on Shankardeva’s wife’s request. So this pilgrimage ended within six months and they returned in the year 1551.

Srimanta Shankardeva was an important person for the religious growth of Assam. He acquainted Bhakti with the people there. He has given many literature masterpieces, acts, dances, songs, and a religion that is now followed by many.

Srimanta Sankardeva is one of the first Assamese to create so many erudite works. He inspired other Assamese to enter the world of poems, stories, and other literary works.

Literary works

Kamajaya, Amria Manthana, Baki-Chalana, Rukmani-Harana were some of his most appreciated poetries.

He has also written many holy Puranas, like Bhagavata Purana which has eight parts. Kirtana Ghosha, which was so well received that it is still something that you can find in many Assamese households.

Harishchandra-Upakhyana was his first-ever literary work.

He has been a part of so many iconic acts like Gunamala, Patni Prasad, Keli Gopal, and Srinama Vijaya.

Sri Shankardeva is also well known for his one-act play called Ankiya Naat. Acts like Kali-Daman, Parijata-Harana, Rukmani-Harana, and Keli Gopala are preserved masterpieces of Sri Shankardeva.

Although acts like Cihna Yantra which is believed to be one of the first open-air theater acts on a global level. Moreover, other acts like Kangsa- Badha, and Janmabadha are now lost with no solid evidence found. Sattriya is a dance-drama that Shri Shankadeva evolved, as a part of the Bhakti movement.

Besides all this, he has also sung holy songs called Borgeet that were composed in the Brajwasi dialect. Deva Bhatima, Naat Bhatima are some other remarkable songs sung by him.

The reason for the popularity of his writings, art, or acts is because of the easy-to-understand, easily captivating, and majestic lyrics and words. He generally wrote in his regional language that is Assamese. But sometimes for a better reach and a sensational effect he also used Brajavali and medieval Maithili.

Everything he wrote had a touch of bhakti, a holistic vibe in it. His words touched the soul of everyone and made them drench in the bhakti of the god.

His teachings

One of the notable reasons for Srimanta Shankardeva’s popularity is that he established the Ekasarana religion, which is a neo-Vaishnavite religion. This Dharam(religion) dismisses the beliefs of Vedic traditions. It believes in worshipping Lord Krishna, singing kirtans for him, and listening to Sravan. The primary religious text of this Dharma is  Bhagavat by Shankardeva himself. This religion captivated both Hindus and non-Hindus.

Although he is considered as a God by his followers and disciples, he used to consider himself a follower of God.

The frequent religious conversions seemed like a threat to the Brahman priests and after an unsuccessful personal meeting, they complained to the Ahom King. Shankardeva was called to the court for the same where he argued that he was not a religious rioter, but the resentment continued. Not just the Ahoms, but the king of the Koch dynasty too called for Sankardeva’s arrest because of his religious influence on his audience. But soon Sankardeva was able to free all the allegations charged on him.

The king was so impressed by him that he offered Sankardeva a seat close to the throne too. In Ramavijaya (his act) he praised the king for his good treatment towards him. This was the first time he got to live the royal life and feel royal dealings. In the last years of his life, he was also offered the throne, but he declined.

Srimanta Sankardeva committed his life for tolerance, culture, and Lord Krishna. He was a saint who contributed a lot to society in every aspect possible.

In the year 1568, after leading a long and eventful life, Shri Shankardeva left his heavenly body at the age of 120. Philosopher Ram Thakur said a severe boil had occurred in some part of his body which led to his death. 

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৷৷ শ্ৰীশ্ৰীকৃষ্ণায় নমোনমঃ ৷৷

A tribute to s ankaradeva.

Comprehensive information on the Śaṅkaradeva Movement 1

Sankaradeva’s philosophy is that of intrinsic equality in which the very doing of pure devotion is predicated on the existence of a transcendental society in which all members are essentially of one kind. His bhaktic philosophy envisages a kind of society which is modeled on Vaikuntha, the transcendental society, in which the governing ideal is one of equality. 

Each of the sections on the left links to a certain aspect of the Movement. Readers new to the topic might want to first proceed to the Introductory section or browse the site-map to search for specific topics.

[This site is a project in progress. Certain features may not be currently available. Please bear with us!]

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• Daily News Analysis

SRIMANTA SANKARDEV

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On a day Prime Minister Narendra Modi performed puja at the Ram temple at Ayodhya, Congress leader Rahul Gandhi was prevented from entering the premises of Batadrava Than, a Vaishnavite monastery and Sankardev’s birthplace in central Assam's Nagaon district.

• Srimanta Sankardev was a 15th-century saint, scholar, cultural icon, and social reformer from the Indian state of Assam.
• Srimanta Sankardev was born in 1449 in Bordowa, present-day Nagaon district, Assam, India.
• His birth name was Sankaravara, and he later became known as Sankardev.
• Sankardev experienced a spiritual awakening early in his life and devoted himself to the worship of God.
• He was deeply influenced by the Bhakti movement and the teachings of saints like Kabir and Sankaracharya.

Founding of Neo-Vaishnavism

• Srimanta Sankardev founded Neo-Vaishnavism , a form of the Bhakti movement that emphasized devotion to a personal god, particularly Lord Krishna.

Literary Contributions

• Introduced new forms of music (Borgeet), theatrical performance (Ankia Naat, Bhaona), dance (Sattriya), and literary language (Brajavali).
• Kirtans: Sankardev composed numerous Kirtans (devotional songs) that are sung during religious gatherings and festivals.
• Bhakti Literature: He wrote a collection of Borgeets (devotional songs), Bhaonas (religious dramas), and books promoting devotion and morality.
• Sankarvijaya: An important biography of Srimanta Sankardev written by his disciple Madhavdev.

Cultural Contributions

• Sattras: Sankardev established monastic institutions known as Sattras, which became centers for cultural and religious activities.
• Bhaona: He introduced Bhaona, a traditional form of one-act play with religious and moral themes, as a means of conveying spiritual messages.
• He created a distinct form of prayer hall called Namghar.

Social Reforms

• Anti-Caste Movement: Srimanta Sankardev opposed the caste system and promoted a society based on equality and fraternity.
• Women's Rights: He advocated for the upliftment of women and their active participation in religious and cultural activities.
• His followers, known as Bhakats, celebrate his teachings through festivals like Magh Bihu and commemorate his life through cultural events.
• Influenced the Koch and Ahom kingdoms, and his followers evolved into monastic centers called Sattras.
• Inspired the Bhakti movement in Assam , similar to the influence of other prominent figures like Guru Nanak, Ramananda, Namdev, Kabir, Basava, and Chaitanya Mahaprabhu in different parts of the Indian subcontinent.

Ekasarana Dharma

Neo-Vaishnavite Monolithic Sect:

• Ekasarana Dharma, meaning "Shelter-in-One religion," is a neo-Vaishnavite monolithic sect introduced by Srimanta Sankardev in Assam during the 15th-16th century.

Focus on Devotion to Krishna:

• The sect reduced emphasis on Vedic ritualism and instead emphasized devotion (bhakti) to Lord Krishna.
• Practices include congregational listening (shravan) and singing Krishna's name and deeds (kirtan).

Egalitarian Appeal:

• Attracted both Hindu and non-Hindu populations due to its simple and accessible nature.
• Initiation into the faith through a ceremony called "xoron-lowa," typically conducted by Sattradhikars (heads of monastic institutions called Sattras).

Central Religious Text - Bhagavat of Sankardeva:

• The Bhagavat of Sankardeva, a transcreation of the Sanskrit Bhagavata Purana, serves as the central religious text.
• Other important works include Kirtan Ghoxa by Sankardeva and Naam Ghoxa by Madhabdev.

Mahapuruxiya and Non-adherence to Hindu Varna System:

• Also known as Mahapuruxiya, based on the worship of the Mahapurux or Mahapurush.
• The sect historically rejected the Hindu varna system and opposed caste distinctions.

Nature of God and Salvation:

• Ekasarana acknowledges both the impersonal (nirguna) and personal (saguna) aspects of God.
• Narayana is considered the worshipful god, and Krishna is identified as the supreme entity.

Four Principles:

• Naam (chanting and singing the name and qualities of God).
• Deva (worship of a single God, Krishna).
• Guru (reverence for a Guru or Spiritual Preceptor).
• Bhakat (association or congregation of devotees).

Denominations:

• The sect fissured into four sanghatis (sub-sects) after the death of Srimanta Sankardev, each emphasizing different aspects of the four principles.

Different Sanghatis:

• Brahma sanghati, Purush sanghati, Nika sanghati, and Kala sanghati, each with distinct characteristics and emphasis on certain principles.
• Brahma Sanghati: Developed by followers who moved away from Madhabdev's leadership, allowing some elements of Brahminical orthodoxy.
• Purush Sanghati: Initiated by the grandsons of Sankardeva, emphasizing Naam and tolerating some Brahminical rites.
• Nika Sanghati: Emphasizes sat-sanga and strict codes for purity and cleanliness, strictly prohibiting idol worship.
• Kala Sanghati: Emphasizes Guru, successfully initiated many tribal and socially backward groups, and had a significant following.

Srimanta Sankardev's life and work exemplify a harmonious integration of spirituality, culture, and social reform, making him a revered figure in the history of Assam and a key influencer in the broader context of the Bhakti movement in the Indian subcontinent.

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Srimanta Sankardeva's Role in Language, Literature and Culture of Assam: A Critical Perspective

2021, Chirantan Chintan

Srimanta Sankardeva (ca1449-1568 AD), a 15th-16th century Assamese polymath contributed significantly in shaping the Assamese culture and literature. He was a pioneer of Assamese art and culture, language and literature and also of education. The Neo-Vaishnavite movement, spearheaded by Saint Sankaradeva is a tremendous socio-cultural revolution in Assam, which takes an important role to create a strong social bond among the people of Assam (Borah 1). However, Sankardeva's contributions have enriched Assamese language,

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IAEME PUBLICATION

IAEME Publication

Srimanta Sankardeva (ca1449–1568 AD), a 15th–16th century Assamese polymath contributed significantly in shaping the Assamese culture and literature. He was a pioneer of Assamese art and culture, language and literature and also of education. The Neo-Vaishnavite movement, spearheaded by Saint Sankaradeva is a tremendous sociocultural revolution in Assam, which takes an important role to create a strong social bond among the people of Assam (Borah 1). However, Sankardeva’s contributions have enriched Assamese language, literature and socio-cultural milieu yet it fails to retain its original tradition throughout Assamese fraternity with which purpose he had, probably advocated the movement of Neo-Vaishnavism. This is evident in the current cultural context in Assam which witnesses an outburst of other cultural practices that have infiltrated into the original customs led by the saint-scholar. Moreover, multiple versions of biographies of Sankardeva have convoluted certain aspects of his life. Another probable reason could be because of the prevalence of orthodox Brahmanic (priesthood) culture that existed in Ahom kingdom at that time. Besides, the interventions of multiculturalism has problematised and fissured the cultural integrity of the indigenous people of this region. With these problems at hand this article seeks to explore the contributions of Sankardeva from a hindsight and to investigate upon the limitations in the Sankardeva movement. Sankardeva’s strategy to bring people together is prevalent mostly after his travel to Northern and Southern parts of India with his guru, disciples and followers. However, his prior wisdom inculcated by his teacher, Sri Sri Madhav Kandali makes a deep impact in his life as a scholar and socio-religious reformer. In this context Sankardeva’s literary pursuits may be divided into two phases—pre-Bhakti sojourn and post-Bhakti sojourn and further been attempted to examine with a critical eye.

Regular issue

Abul Hussain

Mahapurusha Srimanta Sankardeva was an Assamese saint-scholar. Study on his life and works is of great academic importance in Assam. The tutorial, cultural and literature contribution by him still influences the fashionable creative works. The ideas, cultural contribution and philosophy of Srimanta Sankardeva became an integral an area of the lifetime of Assamese people. Therefore, the investigators have felt the requirement to review about the contribution of Mahapurusha Srimanta Sankardeva within the sphere of Assamese literature and culture in relevancy its educational significanceto uplift the moral, spiritual, value based thought, character building and personality development of the long run generation of the people. the foremost objectives of the study are to review the Contribution of Mahapurusha Srimanta Sankardeva within the sphere of Assamese literature and culture and to review the tutorial significance of the Contribution of Mahapurusha Srimanta Sankardeva within the se...

The propagator of Neo-Vaishnavism was Srimanta Sankardeva (1449-1568). When he was born, the socio-cultural situations of Assam were too much lamentable. Around then different misbehaviours were submitted for the sake of religion, which vitiated the social structure. There were individuals who approximately clung to Saivism or Vaishnavism and other people who rehearsed Saktism. The supporters of these factions enjoyed malicious practices like animal and human sacrifices, mystical ceremonies and so forth. Furthermore, the outcomes were poor people and oppressed individuals became survivors of these horrendous practices. To spare this circumstance Sankardeva, established the Neo-Vaishnavism in Assam, which is normally known as the Eksarana-Nam-Dharma. Sankardeva's Neo-Vaishnavism has given birth of new a social and social life for Assamese individuals and zeroed in on a public character moulded by social conventions and language through Cultural Nationalism, which presented to the Indigenous individuals with the assistance of Sattras and Namghar. Sankardeva was not only a religious propagator, but also a great social reformer and the pioneer of the socio-religious or cultural movement of medieval Assam in the Sixteenth Century.

bani prasanna misra

Srimanta Sankaradeva has been the greatest of the neo-vaisnava reformers in Assam during the sixteenth century. The religious and social reforms initiated by him and his prodigious literary output in local language based mainly on the Srimadbhagavata themes helped Assam acquire a distinct identity and contribute its share to Indian civilisation since then. The present publication adds further light on many of the biographical details against the background of interconnectedness of eastern Indian history during that period, while also putting up novel explanations behind some of the vaisnava faith and practices.

International Journal of Scientific Research and Reviews

bhaskar das

The Neo-Vaishnavite movement of Sankaradeva had played a very significant role in building the social and cultural life of the people of Assam. This new creed of Sankaradeva, adhering to main principles of Bhakti, revolutionized the entire face of the life of the people of Assam and led to the formation of broader civil society. This movement of Sankaradeva had cut deep into the fabrics of the Assamese society and transcending all barriers of caste and tribe. It united the diverse tribal communities of the region and gave it a culture, later to be identified as Assamese. Sankaradeva spread the ides of "EksaranaNam Dharma" which means taking shelter in one God and that is Krishna form of Vishnu, and dispelled the darkness of ignorance, superstition and irrational belief and practices. Moreover, religious institutions of the movement like Namghars (prayer hall) and Satras (monasteries) which were the product of the movement had a very influencing role in the social life of the people in the medieval period because these institutions worked both as a common platform and a democratic platform for the people. This paper is an attempt to study the Neo-Vaishnavite movement of Sankaradeva and its contribution in the formation of an egalitarian society.

Sankardeva was not only the father of Assamese drama and stage but also pioneer of dramatic movement of Assam as well as India. Sankardeva had been influenced by classical Sanskrit drama and folk drama institutions of India. During his twelve years pilgrimage, Sankardeva had been familiar with the folk institution of different parts of India. As a result he gave a new dimension in play writing, which is known as “Ankiya Naat” According to Dr. B. L. Baruah, “The pre Vaisnavite Oja-Pali dance recital might have given to Sankardeva the basic idea for the production of Ankiya Naat. It may, therefore, be reasonably presumed that the recital of Kāvya, Oja-Pali choral singing and secular shows of other parts of India might have jointly contributed to the risk of the fully developed drama in Assamese”. The process led of Sankardeva to the growth of a new dialect (Brajawali) was unique language of vernacular style. The dressing and painting style of the actors of Sankardeva plays was really uncommon. The use of masks by the actors was really unbelievable. On the other hand the lighting style in the stage of Ankiya drama was extra ordinary. To find out, how Ankiya Naat lined up all the parts of one act play categorically and it continues its gravity from starting to end, how his plays inspired and entertained the Assamese masses with their educative value and how he skilfully designed his various ideas in a proper and systematic way, I try to prepare my research paper on the topic “Assamese Dramatic movement and Srimanta Sankaradeva”

Indian Anthropologist

Simashree Bora

This paper intends to understand the transformative nature of neo-Vaishnavism and the revivalist nature of Vaishnavite movement in the colonial and post-colonial era. Established and proliferated during medieval Assam, Vaishnavism became a strong religious order which instituted Sattra, the Vaishnavite monasteries in the entire region. However, changes occurred owing to conflict of ideas and dissemination of ideologies which led to disintegration of Vaishnava sect into several sub-sects. Contextualising these transformations within a historical period, the paper tries to look into the changing nature of religiosity and perpetuation of conflicts in the early 20 th century. In this regard, the paper interrogates the emergence of Sankaradeva Sangha as an independent Vaishnavite organisation which brought a major shift within Vaishnavism. Its formation and gradual proliferation in Assam is seen as the first event in the history of modern time when Vaishnava ideology was taken out of the fold of the Sattras which were the sole custodian of Vaishnavism. Thus, the paper tries to understand the organisational structure the Sangha, its existence and pattern of functioning in Assam.

Dhurjjati Sarma

Digboi Mahila Mahavidiyalaya

Abhijit Seal

The role of Srimanta Sankardev in transforming Bhakti Movement through his 'Eka Saran Naam Dharma' is unparrableable. From the starting point of Bhakti Movement in India, the role of Srimanta Sankardev is immense and he has been the pioneer of the Neo-Vaishnavism that came out as a result of propogation of Bhaktism in India and it reaches its ultimate height through his disciple Madhadeva. His attitude towards the movement also made him the first 'Cultural Nationalist' of Assam. In the present paper, the author will try to investigate the role of Srimanta Sankardev in creating cultural nationalism/ nationalistic consciousness among the Assamese people in order to create harmony, empower Assamese folks and safeguard the culture and society of Assam from the future challenges. He did this with the help of his various hymns, Bhaonaas, Borgeets and literary text such as Kirtan Ghosha etc. He used Naamghars as a hub for socio-cultural and economic development of the State by empowering the people from agricultural society in particular through the introduction of Prasad System.

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Mahapurush Srimanta Sankardev

Mahapurush Srimanta Sankaradev (1449 – 1568) was a great Assamese saint, scholar, poet, playwright, social reformer and founder of Vaishnavism in Assam. He inspired the Bhakti movement in Assam and united people through his neo-vaishnavite movement – Ekasaran Naam Dharma. Sankardev enriched Assamese language and literature through his poetry, dramas (ankia naat) and songs (borgeet & bhatima). He was also the father of Assamese classical dance – Sattriya Dance.

Sankardev was born in 1449 at Alipukhuri near Bordua of Nagaon district, Assam. Sankardev lost his parents at an early age was raised by his grandmother Khersuti. He attended tol (school) of Mahendra Kandali. He wrote his first verses Karatala kamala, even without formal education on all the vowels. He studied grammar and Indian scriptures at the tol. Shankardev wrote his first work – Harish chandra upakhyan, during his days at the Mahendra Kandali’s tol.

Sankardev was physically strong and there is a legend that he could swim across flooded Brahmaputra, one of the largest rivers in the world. He left the tol in his late teen years. Then he started to attend his responsibilities as the Shiromani Bhuyan. Later Sankardev moved to Bordowa and married his first wife Suryavati. Few months after giving birth to a girl child, Suryavati died.

Then in 1481, Sankardev started his first pilgrimage journey. He visited Puri, Mathura, Vrindaban, Gaya, Ayodhya, Dwaraka, Sitakunda, Rameswaram etc. He spent many years at Puri. The first pilgrimage of Sankardev lasted 12 years. After returning home in 1493, Sankardev reluctantly took the responsibility of Shiromaniship. But soon he handed over all his responsibility to his son-in-law Hari. Sankardev remarried at the of 54 and moved his residence from Alipukhuri to Bordowa. The name of his second wife was Kalindi. Sankardev’s second pilgrimage started in the year 1550. He was accompanied by more than 100 disciples including Madhavdev. On the request of Sankardeva’s wife Kalindi, the group returned within 6 months.

Sankardev used Krishna as a form to preach devotion to a single God, who can be worshiped solely by uttering his various names (naam). It is called Eka sarana. Sankardeva’s most celebrated disciple was Madhavdev, an equally-talented saint from Lakhimpur, Assam. Sankardev’s famous debate with Madhavdev, which ended with Madhavdev’s conversion to Vaishnavism, is often cited as the single most epoch-making event in the history of the neo-Vaishnavite movement in Assam. As part of Ekasaran, Srimanta Sankardev started a system of initiation (Sarana) into his religion. He faught against anti-social elements like caste system. He gave saran to people of all castes and religions, including Muslims. The people who practice his religion are called variously as Mahapurushia, Sarania or Sankari.

Koch King Naranarayan once ordered arrest of Sankardev. But Chilarai, the General of Koch army, saved him from certain arrest. Later Sankardev impressed Naranarayan with his words. The King honoured Sankardev with a seat next to him. He was also allowed to freely speak of his religion. On the request and patronage of King Nara Narayan and Price Chilarai, Sankardev supervised the creations of the Vrindavani vastra, a 60m x 30m woven cloth that depicted the playful activities of Lord Krishna in Vrindavan.

The literary work of Sankardev extends from Bhagabat to Gunamala. He crated many dramas known as Ankia Naat. Sankardev is the creator of Sattriya Dance, one of the classic dance forms of India.

After living a long, eventful life that shaped Assamese culture and Vaishnavism, Srimanta Sankardev passed away in the year 1568. The cause of his death was said to be a bish phuhora (painful boil). He was 120 years old.

Works of Srimanta Sankardev:

Poetry: Kirtan ghosha, Harischandra upakhyana, Kurukshetra yatra, Ajamilopakhyan, Kamajay, Bali chalana, Gopi-uddhava-samvada, Amrta-manthan etc.

Drama (Ankia naat): Cihna Yatra (lost), Patni-prasada, Janma-jatra (lost), Kangsa-badha (lost), Rukmini Haran, Keli Gopal, Sriram Vijay, Parijat Haran, Kalia Daman etc.

Translation: Bhagavat (Book VI, VIII, I, II, VII, X, XI, XII, IX, partial X & XI, XII), Ramayana (Uttarakanda)

Other books: Bhakati Pradip, Anadi Patan, Gunamala, Bhakti Ratnakar, Nimi-navasiddha-samvad

Songs: Borgeet and Bhatima

Dance: Sattriya dance was first conceived and developed by Sankardev

Note: This page is for information purpose only. It is not easy to cover the whole life of person such as Mahapurush Srimanta Sankardev. This article is not complete. There may be several valuable or important information left behind. Updates will be made in due time.

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Remembering a forgotten saint: Srimanta Sankardev

Often when we talk of national integration and unity, there are voices which state that it is incorrect to assume that India is one nation. The reason given is many residents of certain states may feel themselves to be different from the nationalist vision of India. One state that is often thought to think like that is Assam. Many scholars believe that the cause of militancy in Assam which rose in the 1980’s in the form ULFA, as well as NDFB, stems from the sentiments among many Assamese who see themselves as different from what is termed as ‘mainland’ Indians. Although nowadays many Assamese, young and old have debunked such notions, these notions are still promoted by parties with ulterior motives.

To an extent this feeling of difference some Assamese feel is also because many of us from other parts of India have not paid sufficient attention to the traditional heritage of Assam. Even worse some have no idea about something as basic as the geography of the state. We often hear news of discrimination, people from Assam, and by extension, the Northeast, face in the national capital. On this occasion, this statement of a saint, long-forgotten and nearly buried by Government historians, is worth reading:

Even Gods covet to be born as mortals in Bharatavarsha. Glory to Bharatavarsha where you are born.

These are the words of the great saint, scholar, social reformer, and possibly one of Assam’s greatest visionary, Srimanta Sankardev . This article will be an attempt to give a brief sketch of his memorable life.

According to traditional sources Sankardev, then named Sankara, was born in Alipukhuri near Bordowa in the present day Nagaon district of Assam around 1449 CE. His father Kusumvar Bhuyan was the Shiromani (chief) of the Baro-Bhuyans clans of the region (the Baro-Bhuyans were independent landlords in Assam).

Sankardev was not fortunate to get the love of his mother who tradition states died soon after his birth. When he was about 7 years old, tragedy struck again as Kusumvar Bhuyan died due to smallpox. The orphan Sankara was raised by his grandmother Khersuti.

He began attending the local chatrasaal (school) at the age of 12 and started his primary education. At that age itself, Sankara proved to be a poetic genius as he wrote his first verses later known as karatala-kamala . He stayed at the chatrasaal during his teens, studying grammar, philosophy and Sanskrit scriptures. He was physically in great shape and according to legend, could swim across the mighty Brahmaputra with ease. It is generally believed that he wrote his first literary work, Harishchandra upakhyan , during his teens. The teacher of the school Mahendra Kandali changed his name to ‘Sankardev’ as a mark of respect.

Sankardev finished his education around 1465, by which time he mastered almost all the major works in Sanskrit. After education he was asked to become the Shiromani Bhuyan. He came to be known as the Dekagiri among his admirers. He moved from Alipukhuri to Bordowa and married his first wife Suryavati in his early twenties. Suryavati shared the sad fate of Sankardev’s mother and died giving birth to their daughter, Manu.

First Pilgrimage

The death of Suryavati affected Sankardev who slowly became disinterested in his administrative work, but did take good care of his young daughter. As was the tradition of that era, when Manu turned eleven, she was given in marriage to a young Bhuyan scion named Hari.

Following this event, Sankardev decided to embark on a pilgrimage, and as a result handed his Shiromani position to his grand uncles. Accompanied by his close friends as well his teacher Mahendra Kandali, Sankardev began his journey around 1481. His pilgrimage covered almost all the major sacred sites like Puri, Mathura, Rameswaram, and Benares. It is believed he spent many years at Puri, where he read and explained the Brahma Purana to the priests as well as the ordinary people. During that time he also composed his first Borgeet “ Rama meri hridaya pankaje baise .”

After travelling for about twelve years, Sankardev returned home. On his grandmother’s insistence, he married for the second time. It was around 1494 that the first naamghar (prayer hall) was constructed by Sankardev where he began teaching the residents about Bhakti. His two major works of this time were Bhaktipradipa and Rukminiharana . One of the companions he made during the pilgrimage, Jagadisa Misra of Mithila gave him a copy of the Bhagavata Purana. Sanakrdev began translating it into Assamese simultaneously composing the Kirtana ghosha , a collection of his poems.

Political situation at the time

During that time, the Bhuyans had become politically weak due to constant attacks from neighboring tribes. Because of this, Sankardev and his family had to move from place to place. He stayed for five years in a place called Gangmau where his son Ramananda was born. While there, the Koch king Viswa Singha (from present day Cooch Behar) attacked the then Assam’s independent rulers, the Ahoms.

The Bhuyans fought for the Ahoms, finally defeating the Koch king. Due to the unsettled situation at Gangmau, Sankardev moved to present day Majuli, an island on the Brahmaputra. Upon his arrival, Sankardev entered into a religious altercation with Madhavadeva, a devout Sakta warrior, who on conversing with Sankardev, became his most fervent follower. Like the case in most of medieval India, the teachings of Dharma were corrupted by the influential priestly class for their own benefit. To these priests, Sanakardev appeared to be a genuine threat as he was getting a huge following because of his straightforward, truthful teachings.

These priests complained to the Ahom king Suhungmung, who summoned both Sankardev and Madhavdev to court. But both of them managed to convince the king about the truth contained in their teachings and were let off.Following Suhungmung’s death, the hostile priests started planting false stories in the head of his successor Suklenmung, making him believe that Sankardev “is actually a troublemaker aiming to usurp the throne.”

And so, on a fragile charge of neglect of duty, Sankardev’s son-in-law Hari (who was then a land official for the kingdom) and Madhavadeva were arrested. On being egged on by the foes of Sankardev, the king sentenced Hari to execution, while Madhavadeva was imprisoned for a year. This incident convinced Sankardev that he was no longer safe in the Ahom kingdom. On Madhavadeva’s release, Sankardev along with his family and Madhavadeva, journeyed towards the Koch kingdom settling down in Patbausi near Barpeta around 1541.

In the Koch Kingdom and death

In Barpetra under Sankardev’s instruction, his followers constructed another naamghar. Some of the people who became his disciples at this place were Chakrapani Dwija, a Brahmin, Govinda, a Garo tribal, Madhai, a Jaintia and Murari, a Koch farmer.

Among the literary works composed by Sankardev during this time were three plays: Parijata harana , Keligopala and Kalidamana . At some point in 1551, Sankardev undertook a six-month pilgrimage to Puri, with a retinue of hundred and fifteen disciples, who came from all walks of life.

Like with the Ahoms, the priestly class of the Koch kingdom felt threatened by Sankardev and to end his influence, complained to the king insinuating that the great saint was a spy of the Ahoms. Naranarayana the Koch king ordered Sankardev’s arrest. Although Sankaradeva managed to go into hiding, some of his disciples were captured and subjected to inhuman torture.

At that time Chilarai, the general of the Koch army and brother of Naranarayana, dispatched his own soldiers ordering them to find Sankardev and keep him safe from the king’s men. This is because the general had been married to Kamalapriya, the daughter of Sankardev’s cousin Ramaraya. He knew Sankardev was innocent and had great reverence for him.

Sankardev was then brought safely to Chilarai who requested the King to give an audience to Sankardev and the king agreed to do so.

On meeting the saint, Naranarayana was mesmerized by his serene personality and asked Sankardev’s opponents to prove their complaint. When they faltered, the saint was declared innocent. Sankardev then went on to debate his views with the priests, successfully proving them wrong.  By that time, Sankardev was over a hundred years old but still attended the royal court at the king’s request, where he would preach and debate with the other priests and scholars.

On the request of Naranarayan and Chilarai, the saint asked the famed weavers near Barpeta, to weave a forty-yard long colourful tapestry depicting Krishna’s early life in Brindavan. Sankaradeva presented the designs to be woven and personally supervised the weaving. It took about a year to complete and, this masterpiece came to be known as the Vrindavani Vastra . This outstanding work is now preserved in the Albert museum of London.

Finally in 1568, after leading a life of a philosopher, litterateur and artist, saint Sankardev passed away.

Sankardev left a lasting mark on the religious and cultural life of Assam. He integrated the different castes and groups of people into one cultural unit through his teachings.  He established monasteries even in the remotest of villages and brought Bhakti to the common people. The concept of one culturally united India was foremost in his mind as signified in his statement mentioned in the beginning of the article. Yet, as is the tragedy of our times, the life and achievements of most of such people of India are largely unknown to today’s Indians.

When all our nationalist leaders and scholars—during the freedom movement and today—claim Assam to be an indivisible part of the Indian nation, they scarcely mention this great nationalist saint.

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The Vedantic teachings of Srimanta Sankardeva

Srimanta Sankardeva (1449-1568 CE) was instrumental in bringing about socio-cultural and the Hindu religious renaissance in medieval Assam. His teachings are based on the fundamental principles of the Vedanta school. He propounded a simple and practical path to salvation for the masses.

Mahapurush Srimanta Sankardeva

Sankaradeva was born into the Shiromani (chief)  Baro-Bhuyans  family at Bardowa in 1449 to Shri Kusumvara and Satyasandhya Devi. He was raised by his grandmother Khersuti when he lost his father and mother within a span of three days when he was just seven years.

The Carit Kara states that Sankardeva could swim across the Brahmaputra in spate. According to Carit Puthi, he was such an expert wrestler that he won over a bull in a bullfight. He also practised yoga. He studied grammar and scriptures at Mahendra Kandali’s Tol. He once expressed his desire to construct a Deva Mandira at Bardowa to his companion Ram Guru.

Srimanta Sankardeva got an institutional structure built at Tembuwani in 1468 CE. A murti of Bhagwan Vishnu was unearthed at the construction site. A prayer house called Kirtanghar surrounded by huts was also constructed for the devotees. He along with Shri Madhabdeva is credited with establishing the Satra institution to fulfil the socio-cultural needs of the people.

At the age of 21, Sankardeva married Suryavati who gave birth to a daughter Manu after three years of their marriage. About nine months after Manu’s birth, Suryavati died. His second wife was Kalindi.

Unique features of Srimanta Sankardeva’s philosophy

The following are some of the salient features of Srimanta Sankardeva:

(i) Brahma is the supreme truth. It is shapeless and beyond all attributes. (ii) Brahma and Ishwara (God) are the same, even though Ishwara is the abode of all attributes. (iii) Brahma and Ishwara are there in every being. (iv) Ishwara and His creations are not different. (v) Jiva (creature) is a component of God. (vi) The creation is temporary, but not unreal. (vii) Maya (illusion) is an attribute of God and its influence can be avoided by the grace of God.

Sankardeva preached the form of monism that owed loyalty to a single deity. He strictly adhered to devotion to Bhagwan Krishna. There was no place for any deity other than Bhagwan Krishna in Srimanta Sankardeva’s Eka Sarana Nama Dharma.

“Tumi Paramatma jagatara Isha, eka Eko bastu nahike tomato bytireka “, (Meaning: you are the universal self as well as the one supreme God of the creation. There is nothing other than you) reads a verse from his magnum opus Kirtana ghosha. He considered Ishwara as non-different from Brahma. For him, Ishwara was above the Maya. He categorically said that Bhagavanta or Ishwara was the supreme entity as described in Vedanta.

Sankardeva brought the paths of knowledge and devotion (Jnana Marg and Bhakti Marg) together. He wrote many treatises on devotion besides composing many devotional hymns and thus tried his best to enlighten his disciples about the true path to be followed in life. He differed from Adi Shankaracharya and Ramanuja in his attitudes towards creation. While Adi Shankara declared the Jagat or creation as Mithya or false, Sankardeva treated the Jagat as the playing field of God.

Mahapurush Sankardeva was a great and unparalleled literary figure of the 15th – 16th Century. He also brought a cultural resurgence in medieval Assam and accelerated the pace of development of fine arts like music and painting.

(Featured Image Source: The Sentinel Assam)

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Mahapurusha Srimanta Sankardeva (1449-1568) (Assamese: মহাপুৰুষ শ্ৰীমন্ত শঙ্কৰদেব Môhapurux Srimôntô Xônkôrdev), saint-scholar, playwright, social-religious reformer, is a colossal figure in the cultural and religious history of Assam, India. He is credited with providing a thread of unity to Assam straddling two major kingdoms (Ahom and Koch kingdoms), building on past literary activities to provide the bedrock of Assamese culture, and creating a religion that gave shape to a set of new values and social synthesis. The religion he started, Mahapuruxiya Dharma, was part of the Bhakti movement then raging in India, and he inspired bhakti in Assam just as Ramananda, Kabir, Basava and Chaitanya Mahaprabhu inspired it elsewhere. His literary and artistic contributions are living traditions in Assam today. The religion he preached is practiced by a large population, and Sattras (monasteries) that he and his followers established continue to flourish and sustain his legacy.

 In reverence to his personality, teachings and oeuvre, he is a Mahapurusha, or “Great Man”.

• Biography

Srimanta Sankardev’s genealogy and relatives that played a role in his life and work’s narrative. Sankardev himself drew his lineage from his great-grandfather Rajadhara. His grandmother was instrumental in raising him during his orphanhood and beyond. The brothers of his grandfather, Jayanta and Madhava dispensed the duties of the shiromani bhuyan during Sankardev’s 12-year long first pilgrimage. A descendant of Jayanta, Kamalapriya, and her husband Chilarai were responsible for the royal Koch support during the later part of his life. Puroshottam Thakur and Chaturbhuj Thakur, his grandsons, became important leaders in the religion Sankardev established.

 Srimanta Sankaradeva was born into the Shiromani (chief) Baro-Bhuyans family, near Bordowa in Nagaon in a village called Ali-pukhuri in c1449. The Baro-Bhuyans were independent landlords in Assam, and belonged to the kayastha Hindu caste. His family-members, including parents Kusumvara and Satyasandhya Devi, were saktas. The Saint lost both his father and his mother at a very tender age and was raised by his grandmother Khersuti. He began attending the tol or chatrasaal (school) of the renowned scholar Mahendra Kandali at the age of 12 and soon wrote his first verses:

 karatala kamala kamaladala nayana |

bhavadava dahana gahana vana sayana ||

napara napara para satarata gamaya |

sabhaya mabhaya bhaya mamahara satataya ||

kharatara varasara hatadasa vadana |

khagachara nagadhara fanadhara sayana ||

 jagadagha mapahara bhavabhaya tarana |

parapada layakara kamalaja nayana || ..

 The complete poem was written before he was taught the vowels except, of course, the first one, and is often cited as an example of the early flowering of his poetic genius.

He was physically very able, and according to legend, he could swim across the Brahmaputra while it was in spate.

 He left the tol in his late teens (c1469) to attend to his responsibilities as the Shiromani Bhuyan. He moved from Alipukhuri to Bordowa, and wrote his first work, Harishchandra upakhyan. Sankardeva produced a dance-drama called Cihna yatra, for which he painted the Sapta vaikuntha (seven heavens), guided the making of musical instruments and played the instruments himself.

 At Bordowa, he constructed a dharmagrha or a Hari-grha (house of the Lord) in which he installed an image of Vishnu that was found during the construction of the grha. But it was not meant for worshipping; it was just a “showpiece of art work”. In fact, he was absolutely against any kind of worshipping of Idols or Images of gods. He married his first wife Suryavati when he was in his early 20s. His wife died soon after his daughter Manu was born.

Alipukhuri and Borduwa It is possible the death of his wife increased his spiritual inclination as his mind began to focus, more than ever before, on the transcendental. When his daughter turned nine, he married her off to Hari, handed over the Shiromaniship to his grand uncles and left for a pilgrimage (a religious tour rather) (c1482). At this point of time, he was 32. The pilgrimage took him to Puri, Mathura, Dwaraka, Vrindavan, Gaya, Rameswaram, Ayodhya, Sitakunda and almost all the other major seats of the Vaishnavite religion in India. At Badrikashrama, he composed his first bargeet—mana meri ram charanahi lagu—in Brajavali. He returned home to Ali-pukhuri after 12 years (his family had moved back from Bordowa in his absence). During his pilgrimage, he witnessed the Bhakti movement that was in full bloom in India at that time.

After his return, he refused to take back the Shiromaniship. On his grandmother’s insistence, he married Kalindi at the age of 44. Finally, he moved back to Bordowa and constructed his first naamghar (prayer hall), and began preaching. He wrote Bhakti pradipa and Rukmini harana. Soon after, he received a copy of the Bhagavata Purana from Jagadisa Misra of Tirhut which had in it commentaries from Sridhara Swami of Puri, an Advaita scholar, and began rendering it into Assamese. He also began composing the Kirtana ghosha. The 13 years at Ali-pukhuri was the period during which he reflected deeply on Vaishnavism and on the form that would best suit the spiritual and ethical needs of the people.

From Ali-pukhuri he moved again to Gajalasuti and then back to Bordowa. In the mean time the Bhuyans were getting weak politically and Bordowa was attacked by the neighboring tribes. Sankaradeva had to move again from place to place. At Gangmau he stayed for five years where his son Ramananda was born. While at Gangmau, the Koch king Viswa Singha attacked the Ahoms. The Bhuyans fought for the Ahoms and the Koch king was defeated. Due to the unsettled situation at Gangmau Sankaradeva next moved to Dhuwahat, present day Majuli, now an island on the Brahmaputra. At Dhuwahat, he met his spiritual successor Madhavadeva. Madhavdeva, a sakta, got into a religious altercation with his brother-in-law Ramadasa who had recently converted to Vaishnavism. Ramadasa took him to Sankaradeva, who, after a long debate, could finally convince him of the power and the efficacy of Naam Dharma. At Dhuwahat he initiated many others into his religion and continued composing the Kirtana ghoxa. He tried to appease the brahmans by gentle persuasion and debate, but they felt threatened by the emergence of a new religion propagated by a non-brahmin. Some brahmans submitted a complaint with the Ahom king Suhungmung, who summoned Sankaradeva and Madhavadeva to court. They gave adequate replies to the royal queries and were let off.

Though the relationship with the Ahom royalty began cordially, it soon deteriorated. Once on the charge of dereliction of duty, Hari, Sankaradeva’s son-in-law, and Madhavadeva were arrested and sent to the capital Garhgaon, where Hari was executed. Madhavadeva’s life was spared but he was imprisoned for a year. This incident pained Sankaradeva much and he, along with his family and Madhavadeva, journeyed toward the Koch kingdom.

At Dhuwahat, he wrote the drama Patniprasada.

At Sunpora he initiated Bhavananda, a rich trader who had extensive business interest in the Garo and Bhutan hills besides Kamarupa. The trader, Narayana Das, settled at Janiya near Barpeta and took to agriculture. A man of the world otherwise, he soon flourished and became a provider to Sankaradeva and his devotees. He came to be known popularly as Thakur Ata. After a great deal of moving, Sankaradeva settled at Patbausi near Barpeta and constructed a Kirtanghar (house of prayer). Some of the people he initiated here are Chakrapani Dwija and Sarvabhauma Bhattacharya, brahmins; Ketai Khan, a kayastha; Govinda, a Garo; Jayarama, a Bhutia; Murari, a Koch and Chandsai a Muslim. He also befriended Ananta kandali, a profound scholar of Sanskrit, who translated parts of the Bhagavata Purana. Damodardeva, another brahmin, was initiated by Sankaradeva and he later became the founder of the Brahma Sanghati sect of Sankaradeva’s religion.

Among his literary works, he completed his rendering of the Bhagavata Purana and wrote other independent works. He continued composing the Kirtana Ghosha, further translated the first book of the Ramayana (uttarakanda) and instructed Madhavadeva to translate the last book (adikanda), portions that were left undone by the 14th century poet Madhav Kandali. He wrote four dramas: Rukmini harana, Parijata harana, Keligopala and kalidamana. Another drama written at Patbausi, kamsa vadha, is lost. At Patbausi, he had lent his bargeets numbering aroung 240 to Kamala Gayan. But unfortunately, his house was gutted and most of the bargeets were lost. Since that incident Sankaradeva stopped composing bargeets. Of the 240, 34 remain today.

Sankaradeva once again left for a pilgrimage with a large party of 117 disciples that included Madhavadeva, Ramarama, Thakur Ata and others. Madhavadeva, on the request of Sankaradeva’s wife Kalindi urged him to return from Puri and not proceed to Vrindavana. He returned to Patbausi within six months.

 On hearing complaints that Sankaradeva was corrupting the minds of the people by spreading a new religion, Naranarayana the Koch king, ordered Sankaradeva’s arrest. Sankaradeva managed to go into hiding, but Narayan Das Thakur Ata and Gokulchand were captured. They were taken to Kochbehar and subjected to inhuman torture, but they did not divulge the location where their Guru was staying, and the royals soon gave up.

 In the meantime Chilarai, the general of the Koch army and brother of Naranarayana, who had been influenced by the religion and had married Kamalapriya, the daughter of Sankaradeva’s cousin Ramaraya, arranged for Sankaradeva’s audience with Naranarayana. As he moved up the steps to the throne, Sankardev sang his Sanskrit totaka hymn (composed extempore) to God,

madhu daanava daarana deva varam |

vara vaarija locana cakra dharam ||

 dharani dhara dhaarana dheya param |

paramaartha vidyaashubha naasha karam ||

kara churnita chedipa bhuri bhagam |

 bhaga bhushana korchhita paada yugam ||

yuga naayaka naagara vesha ruchim |

ruchiraangshupidhaana sharira suchim || ..

 and as he sat down, he sang a borgeet, narayana kahe bhakati karu tera. Naranarayana was overwhelmed by the Saint’s personality. The king then asked Sankaradeva’s opponents to prove their complaint. After Sankaradeva defeated them in the debate, Naranarayana declared him free from all allegations. Sankaradeva began attending Naranarayana’s court at the king’s request. When he met Naranarayana, he was well over a hundred years old and had just three more years to live.

 After the debate, Sankaradeva shuttled between Kochbehar and Patbausi. On the request of Nara Narayan and Chilarai he supervised the creations of the 60mx30m woven Vrindavani vastra, that depicted the playful activities of Krishna in Vrindavana. This was presented to the Koch king.

 He made arrangements with Madhavadeva and Thakur Ata and gave them various instructions at Patbausi and left the place for the last time. He set up his home at Bheladonga in Kochbehar. During his stay at Kochbehar, Naranarayana expressed his wish to be initiated. Sankaradeva was reluctant to convert a king and declined to do so. According to one of the biographers (Ramcharan Thakur), a painful boil—a visha phohara – had appeared in some part of his body and this led to the passing away of the Saint. According to other accounts (Guru Charit Katha et al.), Naranarayan’s adamance that he be initiated into the new religion led the saint to surrender his life to the Lord by way of meditative communion. Thus, in 1568, after leading a most eventful life dedicated to enlightening humanity; the Mahapurusha died – within six months of his stay at Bheladonga – at the remarkable age of 120 years.

 Mahapuruxiya dharma

 Sankaradeva used the form of Krishna to preach devotion to a single God (eka sarana), who can be worshiped solely by uttering His various names (naam). In contrast to other bhakti forms, eka sarana follows the dasya attitude (a slave to God). Moreover, unlike the ‘Gaudiya Vaishnavism’ of Bengal, Radha is not worshiped along with Krishna. In uttering the name of God, Hari, Rama, Narayana and Krishna are most often used.

Sankaradeva himself and the religion in general are particularly antagonistic to saktism which was strongly prevalent in Assam at the time. This probably explains the non-use of Radha as an icon. His famous debate with Madhavadeva, who was a staunch sakta (devotee of Shakti) earlier, and Madhavadeva’s subsequent conversion to Vaishnavism, is often cited as the single most epoch-making event in the history of the neo-Vaishnavite movement in Assam. Madhavadeva, an equally multi-talented person, became his most celebrated disciple.

A non-brahmin, Srimanta Sankaradeva started a system of initiation (saran lowa) into his religion. He caused a huge Social revolution by fighting against anti-social elements like casteism prevailing at that time. He initiated people of all castes and religions, including Muslims. After initiation, the devotee is expected to adhere to the religious tenets of eka sarana. Failure to adhere to these tenets led to ex-communication in certain cases.

Though he himself married twice, had children and led the life of a householder, his disciple Madhavadeva did not.

 Some of his followers today follow celibate monkhood (kevaliya bhakat) in the Vaishnavite monasteries – the sattras.

 The people who practice his religion are called variously as Mahapurushia, Sarania or Sankari.

 Sankaradeva produced a large body of work. Though there were others before him who wrote in the language of the common man – Madhav Kandali who translated the Ramayana into Assamese in the 14th century – his was the first ramayana to be written in a modern Indian language – Harivara Vipra and Hema Saraswati, it was Sankaradeva who opened the floodgates and inspired others like Madhavadeva to carry on where he left off.

His language is lucid, his verses lilting, and he infused bhakti into everything he wrote. His magnum opus is his Kirtana-ghosha, a work so popular that even today it is found in nearly every household in Assam. It contains narrative verses glorifying Krishna meant for community singing. It is a bhakti kayva par excellence, written in a lively and simple language, it has “stories and songs for amusement [for children], it delights the young with true poetic beauty and elderly people find here religious instruction and wisdom”.

For most of his works, he used the Assamese language of the period so the lay person could read and understand them. But for dramatic effect in his songs and dramas he used Brajavali, an artificial mixture of Braj language and Assamese.

 Other literary works include the rendering of eight books of the Bhagavata Purana including the Adi Dasama (Book X), Harishchandra-upakhyana (his first work), Bhakti-pradip, the Nimi-navasiddha-samvada (conversation between King Nimi and the nine Siddhas), Bhakti-ratnakara (Sanskrit verses, mostly from the Bhagavata, compiled into a book), Anadi-patana (having as its theme the creation of the universe and allied cosmological matters), Gunamala and many plays like Rukmini haran, Patni prasad, Keli gopal, Kurukshetra yatra and Srirama vijaya. There was thus an flowering of great Bhakti literature during his long life of 120 years.

Poetic works (kavya)

• Kirtana-ghosha

 • Harischandra-upakhyana

 • Rukmini-harana

• Ajamilopakhyana

• Bali-chalana

• Kurukshetra-yatra

• Gopi-uddhava-samvada

 • Amrta-manthana

• Krishna-prayana-pandava-niryana

 • Kamajaya

Bhakti Theory

• Bhakati-pradipa

 • Anadi-patana

 • Nimi-navasiddha-samvada

• Bhakti Ratnakara (in Sanskrit)

• Gunamala 

 Transliteration

• Bhagavat (Book VI, VIII, I, II, VII, X, XI, XII; IX not available)

• Ramayana (uttarakanda, supplemental to Madhav Kandali’s Katha Ramayana) His translation of the Bhagavata is actually a transcreation, because he translates not just the words but the idiom and the physiognomy too. He has adapted the original text to the local land and people and most importantly for the purpose of bhakti. Portions of the original were left out or elaborated where appropriate. For example, he suppressed the portions that revile the lowers castes of sudra and kaivartas, and extols them elsewhere.

Drama (Ankia Nat)

• Cihna Yatra (lost)

• Patni-prasada

 • Kalia-damana

• Keli-gopala

 • Parijata-harana

 • Srirama-vijaya

Sankaradeva was the fountainhead of the Ankiya naat, a form of one-act play. In fact, his Cihna Yatra – staged by him when he was only 19 – is regarded as one of the first open-air theatrical performances in the world. Cihna yatra was probably a dance drama and no text of that show is available today. Innovations like the presence of a Sutradhara (narrator) on the stage, use of masks etc., were used later in the plays of Bertolt Brecht and other eminent playwrights.

These cultural traditions still form an integral part of the heritage of the Assamese people.

 • Borgeet (composed 240, but only 34 exist now)

o Deva bhatima – panegyrics to God

 o Naat bhatima – for use in dramas

 o Raja bhatima – panegyrics to kings (to king Nara Narayan)

 The Borgeets (literally: great songs) are devotional songs, set to music and sung in various raga styles. These styles are slightly different from either the Hindustani or the Carnatic styles. The songs themselves are written in the ‘Brajavali’ language.

Sattriya dance, that Sankaradeva first conceived and developed and which was later preserved for centuries by the sattras, is now among the classical dance forms of India.

• Sapta vaikuntha – part of the Cihna yatra production, does not exist today.

• Vrindavani vastra – parts of this work are preserved in London.

The famous Vrindavani Vastra—the cloth of Vrindavan—a 120 x 60 cubits tapestry depicted the lilas of Lord Krishna at Vrindavan through richly woven and embroidered designs on silk.[2] A specimen, believed to be a part of this work, is at the Association pour l’Etude et la Documentation des Textiles d’Asie collection at Paris (inv. no. 3222). The vastra, commissioned by Chilarai, was woven by 12 master weavers in Barpeta under the supervision of Sankaradeva probably between 1565 and 1568. It was housed in the Madhupur sattra but it disappeared at some point. It is believed this cloth made its way to Tibet and from there to its present place.

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Sankardev - Prominent Bhakti Saints - Art and Culture Notes

Amruta Patil

Aug 9, 2024

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• 09 August, 2024 : UPSC Mains Schedule 2024 Out; Exam from September 20

Srimanta Sankardev was an Assamese polymath of the 15th–16th century who was a saint-scholar, poet, playwright, dancer, actor, musician, artist, social-religious reformer, and significant figure in the cultural and religious history of Assam, India. This article will explain about Sankardev which will be helpful in Indian Art and Culture preparation for the UPSC Civil service exam.

Sankardev (1449 - 1568)

• According to traditional accounts, Sankardev, then known as Sankara, was born in 1449 CE in Alipukhuri near Bordowa in the present-day Nagaon region of Assam.
• His father, Kusumvar Bhuyan, was the Shiromani (head) of the region's Baro-Bhuyans clans (the Baro-Bhuyans were independent landlords in Assam).
• He is largely recognized for inventing new types of music (Borgeet) , theatrical performance (Ankia Naat, Bhaona) , dance (Sattriya) , and literary language (Brajavali) .
• In addition, he left a large literary corpus that included trans-created scriptures, poetry, and theological writings written in Sanskrit, Assamese, and Brajavali.
• The Bhagavatic religious movement he founded, Ekasarana Dharma , is also known as the Neo-Vaishnavite movement.
• Influenced two medieval kingdoms - Koch and the Ahom kingdoms and the assembly of devotees he founded, evolved over time into monastic centers known as Sattras, which remain important socio-religious institutions in Assam and, to a lesser extent, North Bengal.
• Sankardev influenced the Bhakti movement in Assam in the same way as Guru Nanak, Ramananda, Namdev, Kabir, Basava, and Chaitanya Mahaprabh u inspired it throughout the Indian subcontinent.
• His ideas were approved by the Matak Kingdom, which was formed by Bharat Singha and consolidated by Sarbananda Singha in the late 18th century.

Ekasarana Dharma

• Ekasarana Dharma is a neo-Vaishnavite religion founded in the 15th-16th centuries in the Indian state of Assam by Srimanta Sankardeva.
• It focuses on devotion (bhakti) to Krishna in the form of congregational listening (sravan) and singing his name and deeds rather than vedic ritualism.
• The major sacred text of this religion is the Bhagavat of Sankardeva, which was translated from the Sanskrit Bhagavata Purana by Srimanta Sankardeva and other early Eka Sarana school members.
• The Ekasarana religion emphasized religious practices of bhakti rather than systematically expounding philosophical viewpoints.
• Though Ekasarana recognizes the impersonal (nirguna) god, it recognizes the personal (saguna) one as worshipful .
• Krishna, the supreme entity himself, is the target of adoration in Ekasarana, according to the Bhagavata Purana.

Literary works

• His major literary creations include the 'Kirtana Ghosha,' 'Gunamala,' and others.
• His holy songs are referred to as 'Borgeet.'
• His plays are known as 'Ankia Naat, ' and Sattriya Dance was a feature of them at the time.
• Srimanta Sankardev adopted the art of tale-telling through drama in the 'Ankhiya Naats,' largely illustrating the lives of Lord Krishna and Lord Rama.
• 'China Jatra' was his debut dramatic piece. Among his 'Ankia Naats' are 'Kaliya Daman,' 'Patni Prasad,' 'Keli Gopal,' 'Rukmini Haran,' 'Parijat Haran,' and 'Rambijay.'
• When he started school at the age of twelve, he wrote a poem in praise of Lord Vishnu called 'Karatala Kamala Kamala Dala Nayana' without using any vowels because he had only learned consonants up to that point.

Sankardev left an indelible imprint on Assam's religious and cultural life. Through his teachings, he united various castes and groups of people into a single cultural unit. He established monasteries in even the most remote villages, bringing Bhakti to the common people.

Question: Who is the founder of the Matak kingdom?

Sarbananda Singh was the leader of the Moamoria tribe. His ethnicity was Matak Chutia. He founded the Matak Kingdom, which had its capital in Benamara.

Question: What do you mean by Borgeet?

Borgeets are lyrical songs set to specific ragas but not necessarily to any tala. These songs, written in the 15th and 16th century by Srimanta Sankardeva and Madhavdeva, are used to begin prayer sessions in monasteries, such as Satra and Namghar linked with the Ekasarana Dharma.

Question: What is Brajavali?

Sankardev adopted Brajavali as a literary language in his Vaishnavite faith, Ekasarana Dharma, in Assam, for some of his compositions (Borgeets and Ankia Naats).

Question: Kirtana Ghosha is written by

(a) Ramananda

(d) Sankardev

Answer: (d) See The Explanation

Kirtana Ghosha is a collection of poetical works intended for community singing in the Ekasarana religion, primarily composed by the medieval saint Srimanta Sankardev.

Therefore, option (d) is the correct answer.

Question: Consider the following statements.

• Sattriya dance in modern form was introduced by the Vaishnava saint Sankaradeva.
• The art form derives its name from the Vaishnava monasteries known as Sattras.

Which of the above statements is/are correct?

(c) Both 1 and 2

(d) Neither 1 nor 2

Answer: (c) See The Explanation

• Sankaradeva, a Vaishnava saint, introduced Sattriya dance in its contemporary form to Assam in the 15th century A.D.
• The name of the art form comes from the Vaishnava monasteries known as 'Sattras,' where it was originally practiced.

Therefore, option (c) is the correct answer.

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Colonial Discourse and the Suffering of Indian American Children is now published after academic peer-review and available through open access.

In this book, we analyze the psycho-social consequences that Indian American children face after they are exposed to the school textbook discourse on Hinduism and ancient India. We show that there is an intimate connection―an almost exact correspondence―between James Mill’s ( a prominent politician in Britain and head of the British East India Company) colonial-racist discourse and the current school-textbook discourse. Consequently, this archaic and racist discourse, camouflaged under the cover of political correctness, produces in the Indian American children the same psychological impact as racism is known to produce: shame, inferiority, embarrassment, identity confusion, assimilation, and a phenomenon similar to racelessness where the children dissociate from the tradition and culture of their ancestors

This book is an outcome of 4 years of rigorous research as a part of our ongoing commitment at Hindupedia to challenge the representation of Hindu Dharma within Academia.

By Swami Harshananda

Śaṅkaradeva lived in A. D. 1486-1568.

• 2 Three Aspects of the Sect
• 3 Philosophy
• 6 References

Life [ edit ]

Śaṅkaradeva is the brightest star of the Vaiṣṇava Movement in Assam and north-east India, whose contribution is no less than that of Śrīkṛṣṇa Caitanya [1] in Bengal and Orissa. He was born at the village Ālipukhuri. [2] His parents were Kusumbara and Satyasandhā. He lost his parents very early in life and was brought up by his grandparents. He got a good education in a Sanskrit school and also developed his god-given talents in music , painting and composing poems.

He was married and had a daughter. His wife died immediately afterwards. He went out on a long pilgrimage at the age of thirty. His travel spread over twelve years. He visited many places including Kāśī , Vṛndāban, Mathurā, Kurukṣetra , Dvārakā and Rāmeśvaram . During these visits, the strong current of Vaiṣṇavism he noticed everywhere due to the influence of saintly poets like Vidyāpati , [3] Jayadeva [4] and Srīkṛṣṇa Caitanya whom he met for a short period, practically converted him from his Śākta moorings to the Vaiṣṇava creed.

After returning to his place he was forced by his close relatives to marry for second time. This perturbed him much. However, the chance arrival of Jagadīśa mitra , a great pundit and a travelling mendicant, helped him to regain his balance and peace. Jagadīśamitra stayed with him and taught him the Bhāgavata . Śaṅkaradeva’s conversion to Vaiṣṇavism was now complete. This inspired him to translate the Daśamaskandha [5] into the Kāmarupi [6] language, in simple verses. Recurring political troubles forced him to migrate to safer places, finally settling down at Belguri on the bank of the stream Dhoasuti in North Lakhimpur. [7]

Three Aspects of the Sect [ edit ]

Though Śaṅkaradeva adopted Vaiṣṇavism as his religion he evolved his own form of it and developed a new sect. He carved a wooden image of Kṛṣṇa, called it Madanagopāla and established it in his prayer-hall with elaborate ceremonies. The prayer-hall itself was called ‘nāmaghar’. He started his own form of initiation called ‘śaraṇa’. This had three categories or aspects:

• Bhaktiśaraṇa [8]

In other prayer-halls built under his supervision or guidance, he installed the Bhāgavata-book instead of Kṛṣṇa’s image on a wooden pedestal. This new method averted the need for formal worship and associated riturals only by a brāhmaṇa. All the devotees, irrespective of caste or religion, could offer a simple service to the book before congregational prayers called kīrtan. The simple process of initiation he adopted was to transmit the mantra hare krsna, hare rāma . The Bhāgavata was adopted not only as the scripture but also as the object of worship .

Philosophy [ edit ]

According to Śaṅkaradeva, Kṛṣṇa is the Supreme God who is a person, [9] eternal, omniscient and omnipotent. The puruṣas or jīvas, individual souls are many and are His anśas or parts. [10] The insentient prakṛti [11] is also his.

Śaṅkaradeva lays great stress on bhakti , that too dāsyabhakti. [12] The most important aspect of this is ekaśaraṇatva. [13] Though mokṣa or salvation [14] is accepted, the devotee is indifferent to it since he enjoys devotion to God much more.

Works [ edit ]

Śaṅkaradeva did not write commentaries on the prasthānatraya. But he has left quite a few works for the posterity. They are:

• Bhaktiratnākara in Sanskrit
• Kīrtana in simple verses suited to music
• Gunamālā is a synopsis of the Bhāgavata
• Añkiānāt is one-act dramas
• Translation of a part of Mārkandeyapurāna
• Number of devotional songs known as bargits [15]

Except the first, all the other works are in the Kāmārupī or Assamese language. The work Nāmaghoṣa, by his chief disciple Mādhavadeva, has gained great respect from the followers and became popular.

Epilogue [ edit ]

The bhakti -movement that he started gradually spread in the whole area. However, it also split into six major groups in course of time. Institutions known as satras also came into being associated with this movement.

References [ edit ]

• ↑ He lived in A. D. 1485-1533.
• ↑ It is present Gong district in Assam.
• ↑ He lived in 15th century A. D.
• ↑ He lived in 12th century A. D.
• ↑ It is the tenth book of the Bhāgavata containing Kṛṣṇa’s story in great detail.
• ↑ Kāmarupi is an Assamese.
• ↑ It is in Assam.
• ↑ It is also called as Buddhist śaraṇas which are Buddha , Dharma and Sañgha.
• ↑ He is the Puruṣa , Purusottama, Parameśvara and Nārāyaṇa.
• ↑ Bhagavadgītā 15.7
• ↑ Prakṛti means nature.
• ↑ Dāsyabhakti means considering oneself as a dāsa or servant of God.
• ↑ Ekaśaraṇatva means total surrender or dedication to God.
• ↑ Salvation means freedom from trans-migratory existence.
• ↑ Bargits are the varagitā, ‘excellent songs’.
• The Concise Encyclopedia of Hinduism, Swami Harshananda, Ram Krishna Math, Bangalore

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Sankardeva: The architect of Assamese nationality

Dr Satyajit Das

(The writer can be reached at [email protected])

The contributions of Mahapurush Srimanta Sankardeva and his chief disciple Sri Sri Madhavdeva towards the formation of greater Assamese nationality are significant and tremendous. About five hundred sixty-seven years ago, Sankardeva was born in Batadraba of Nagaon district, Assam. The spiritual, social and cultural ideals of Sankardeva influenced the Assamese social and national life and thus through it, he established a new horizon in the history of Assamese nation-building. Sankardeva's basic tenet of religion 'Ek Sarana Naam Dharma' (religion of shelter in one God and his name) provided a new reformative path for the social life of Assam and its nationality. His ideal played a major role in upgrading the Assamese nationality into a great cultured nation.

About six hundred years ago from today, the disorderly social system, social hierarchy, social disparity, caste discrimination, unruly political situation, incontinence, deformative religious system, violence, untouchability as well as superstitions were the major social and religious evils deteriorating the social values and degrading humanism to a great extent in all over the state of Assam. Then prevalent religious system had largely impacted upon the masses exploited by the rich and the upper class and caste of the society. In the name of religion, the worshipping and propitiating of many gods and goddesses, sacrifices of animals, even human sacrifice had created anarchy among the general people. Because of this type of anarchy, the entire Assamese society had been changing into a narrow societal system. So, in this critical and momentous juncture as well as degraded and unquiet ambience, Sankardeva and his chief disciple Madhavdeva together had led the religious and cultural movement for overcoming all the social evils as well as religious deformation. This movement is considered a cultural renaissance and social revolution. Sankardeva had presented the idea of monotheism which was prevalent during that time in other parts of India also among the mass people. Both Sankardeva and Madhavdeva had taken the responsibility to reform society through this movement. So, they had tied up the entire nation irrespective of caste, creed and religion and unified various tribals and non-tribals scattered in the hills and plains of Assam.

This social revolution as well as cultural renaissance is called the Neo-Vaishnavite movement. In this movement, not only spiritual and religious thoughts but also all the components of arts and culture were comprised in it.

At that time, Sankardeva had accepted all his followers as his disciples belonging to different castes and communities. Among them, Narottama of Nagas, Govinda of Garos as well as Chandasai of Muslims were noteworthy.

Srimanta Sankardeva with his chief disciple Sri Sri Madhavdeva as well as other disciples of different castes and communities collectively had been disseminating and publicizing the 'Ek Sarana Naam Dharma' in the entire state of Assam. The main objective of Sankardeva's 'Ek Sarana Naam Dharma' is to worship and propitiate the Lord Sri Krishna by chanting his heroic and well deeds among people.

For fulfilling this objective, Sankardeva had established a new type of community prayer hall called 'Naamghar' which was also famed as a national institute of Assamese community and society. This unique type of national institution is mainly a religious one where all types of discussion and activities including spiritual, moral, social, and judicial as well as arts and culture are discussed and practised here. Naamghar is such a liberal stage where nullifying the caste discrimination and caste hierarchy, all the communities can gather together in the same and unique position without any category and disparity.

Through the Naamghar, Sankardeva had facilitated the transformation of the deformed Assamese society into a reformed one. Through this, it was possible to unite all the diversified communities.

The Naamghar represents a noble society of devotees irrespective of castes and communities. Later on, Sankardeva advised his chief disciple Madhavdeva to establish 'xatra' for continuing the activities and purposes of Naamghar in an organized manner to a greater extent. Xatras have played a major role in reshaping the concrete foundation of a strong social-cultural-spiritual, economic and democratic system among the Assamese life.

Later on, for reforming the society by Sankardeva and Madhavdeva through religious as well as spiritual ways, literature and culture were also considered as essential media. Both of them composed and narrated the poetry, songs, verses, dramas, music and dances. Through all these, they had disseminated the internal thoughts, philosophy and ideal of Lord Sri Krishna and his activities and heroic deeds among the masses through a very simple language called 'Brajabali' generated by Sankardeva himself.

All the literary and cultural creation, composition and works have emphasized worshipping the 'Lord Krishna', the only supreme entity of this universe through chanting his name with 'Sravana-Kirtana'.

Then, there were lots of communities, including tribals and non-tribals, living in various plains and hills of the entire state that were attracted by the literary works, arts, cultural creations as well as 'Ek Sarana Naam Dharma' religion of Sankardeva and Madhavdeva and so they adopted to become disciples of them and followers of neo-Vaishnavism.

Thus the neo-Vaishnavism movement has been contributing largely towards a greater Assamese nationality formation. Because, through establishing Xatras and Naamghars by Sankardeva and Madhavdeva, it was very easier for the unification of various castes and tribal communities in a common stage under the same ideology as well as unique spiritual thoughts and cultural feelings.

In "Ek Sarana Naam Dharma", there is no place for division of the disciples into upper and lower castes and also rich and poor discrimination.

Thus, Srimanta Sankardeva and Sri Madhavdeva formed the greater Assamese Nationality as well as greater Assamese society. It is significant to note that Sankardeva has written in his version of Bhagavata as follows:

"Kirata-Kachari

Khasi Garo Miri

Zavana Kanka Gowala

Asoma Muluka Rajaka Turuka

Kocha Mleecha Chandala".

The meaning thereby that the Assamese nationality is composed of the various tribes like Kirata, Kachari, Khasi, Garo, Miri, Zavana, Kanka, Gowala, Rajaka, Turuka, Koch, Mleecha and Chandala.

So, Srimanta Sankardeva and Sri Sri Madhavdeva are recognized as the architect of the building of greater Assam. Their idealism has been leading the different races, castes and tribes to re-establish the state of Assam as a spiritually and culturally great colourful as well as a resourceful state among all the states of the country.