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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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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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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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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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Mahapurush Srimanta Sankardeva - A Detailed View

Assam is known for the variety of its culture, and the state's history reveals the cultural contributions made by its inhabitants. Many figures have contributed vastly to the Assamese culture and heritage.

One name is indisputable whenever Assamese culture is discussed: Mahapurush Srimanta Sankardeva. He has given Assam some very inspiring and notable literary and cultural achievements.

LIFE OF SRIMANTA SANKARDEVA

In the year 1449 AD, Sankardeva was born in Alipukhuri, Nagaon. He was born during an era of downfall for Assamese literature, language, and culture. At the young age of 7, he lost both his father Kusumbar Bhuyan and his mother Satyasandha Devi. He was raised by his grandmother Kherxuti.

At the age of 12, he joined Mahendra Kandali's school to start learning Indian scriptures and grammar. He didn't know the vowels at the time when he penned his first poetry "karata-kamala." Outside of their academics, he taught himself the art of Yoga, which aided in the development of his physicality. According to several folklores, Sankardev was also capable of crossing the mighty Brahmaputra river by swimming.

Written in the tol, Harishchandra Upakhyan was his debut composition. He left the tol after soon gaining versed in the scriptures. Among his followers and admirers, he was also referred to as Dekagiri

At the age of 22, Sankardev married Suryavati. The couple was blessed with a baby girl three years later, whom they called Manu. However, Suryavati passed away soon after, leaving behind 9-month-old Manu to be raised by her father Sankardev alone. 

CONTRIBUTION OF MAHAPURUSH SRIMANTA SANKARDEVA

Simple ideologies from Sankardeva's religious lessons have taught us to value life. He explained how to carry out good deeds to make life pure and unspoiled, and it is without a doubt a wonderful way to meet people you know and love.

At a time when tantric rituals like human sacrifice (which were common in the middle ages in the temples of Brahmaputra valley) wrecked havoc and caused endless miseries, Srimanta Sankaradeva sought an alternate path by establishing a new religion called the Ekasharana Dharma, also known as the Neo-Vaishanvite religion. However, Sankardeva was not just a spiritual guide. He was talented in a variety of fields, including poetry, music, dance, and drama.

He started by expanding on his Ekasharana Dharma, or devotion to the one God, by whose glory alone one may hope to be freed from sin and suffering.

Sankardeva performed poetry, music, drama, and painting in addition to direct teachings to spread the word about his new Bhakti Cult. Sankardev left behind a significant amount of work. He wrote most of his writings in the popular Assamese dialect of the time so that the general public could read and comprehend them. However, he used Brajavali for dramatic effect in his songs and plays.

Satras are institutional centres related to Srimanta Sankardeva's Ekasarana Vaishnavism style. Srimanta Sankardeva established the first satra in Majuli. Typically, these centres operate independently of one another and are run by certain individuals (or satradhikars). The Satras house a prayer room called Kirtan Ghar or Naamghar.

Although the satras were initially founded as a component of the democratic Ekasarana Dharma movement, they are no longer considered as a place of worship. Instead, they have been transformed into centres for the promotion of art and music over time. The satras open doors to discovering the state's arts and crafts.

HIS CULTURAL WORKS

He made significant contributions to Assam's cultural characteristics throughout his lifetime. He covered a wide range of topics in his contributions, including poetry (Kavya), music (Borgeet), drama (Anikia Naat), and dance (Sattriya Dance). He is credited with starting the Assamese literary tradition because of the numerous poems he produced, including Kirtana-ghosha, Harischandra-upakhyana, Rukmini-harana, Parijat-haran, Kaliya-daman, Ram-vijay, Ajamilopakhyana, Bali-chalana, Kurukshetra-yatra, Gopi-uddhava-samvada, Amrita-manthana. Every Assamese household possesses these books, particularly the Kirtana.

In addition to poetry, he also contributed greatly to drama also known as Ankia Naat. A Bhaona is a specific version of an Ankia Naat. The productions usually feature traditional instruments, singers, dance, and spectacular costumes. One of the first outdoor stage performances in history was his Cihna Yatra. Since there isn't any text form of Cihna Yatra today, it was probably a dance drama. Cihna Yatra, Patni Prasada, Janma Yatra, Kangsa Badha, Parijata Harana, Kali Damana, Rukmini Harana, Keli Gopala, and Srirama Vijaya are only a few of his dramas.

Despite making significant contributions to drama and poetry, Srimanta Sankardev also created a large number of songs known as borgeets and bhatima. Borgeets are devotional songs written in the Brajawali language, an old dialect derived from Maithili. Borgeet is an integral part of the Eksaran Bhagabati dharma, which is practised in Assam's Vaishnab Satras and Naamghars.

During his journey to Badrikashram, Srimanta Sankardeva wrote the first Borgeet, "Mana Meri Rama-caranahi Lagu."The speciality of the lyrics of Borgeet is in the reticence . In these Borgeets, the Vaishnavist principles as well as the stories of Lord Shree Krishna and Rama are clearly portrayed.

A genius at the time, Srimanta Sankardeva not only created poems, music, and plays but also Sattriya dance, a type of dance that he developed and refined. Sattriya dance came to be known today as a major Indian Classical Dance, and it is performed in the Krishna-centered Vaishnavism monasteries in Assam. 

Sattriya Nritya is accompanied by musical compositions called bargeets. The khol, a two-faced, asymmetrical drum played with fingers, is a significant musical instrument used in Sattriya performances. The flute and a variety of cymbals (Manjira, Bhortal, Bihutal, Patital, and Khutital) accompany the khol (bahi).

Sattriya dance costumes are divided into two categories: male costumes (dhoti, sador, and paguri (turban) and female costumes (ghuri, sador, and kanchi) (waist cloth). 

Srimanta Sankardev as well as his disciples, particularly Madhabdev, have had a significant impact on Assam's rich culture. Many people are influenced by Srimanta Sankardeva's teachings to accept the Neo Vaishnavite religion. Sankardeva felt that honest thinking and simple life purified both the mind and the body. Although we are temporarily lost in a fast-paced culture, we must consider the collective attempt to strive towards greater national self-interest with the wisdom of conscience and self-realization. Only such efforts would be a great tribute to the ideologies of Srimanta Sankardeva.

Disclaimer: The opinions expressed in this article are those of the author's. They do not purport to reflect the opinions or views of The Critical Script or its editor.

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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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Sankardev - Prominent Bhakti Saints - Art and Culture Notes

Amruta Patil

Aug 9, 2024

IAS Exam Latest Updates

• 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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• Mahapurush Sri Sri Madav dev

Mahapurush Sri Srimanta Sankardev

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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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Tuesday, may 25, 2021.

• Essay on Srimanta Sankardev in Assamese || Sankardev essay in Assamese || শ্ৰীমন্ত শংকৰদেৱ ৰচনা

১৪৪৯ চনৰ আহিন মাহৰ শুক্লা দশমীৰ দিনা নগাওঁ জিলাৰ বৰদোৱাত শ্ৰীমন্ত শঙ্কৰদেৱ জন্ম গ্ৰহণ কৰে। তেখেতৰ পিতাৰ নাম কুসুম্বৰ ভূঞা আৰু মাকৰ নাম সত্যসন্ধা । সৰুতে পিতৃ-মাতৃ বিয়োগ হোৱাত বুঢ়ী মাক খেৰসূতীয়ে তুলি-তালি ডাঙৰ কৰে।

শিক্ষাঃ- তেৰ বছৰ বয়সত বুঢ়ী মাকে শ্ৰীমন্ত শঙ্কৰদেৱক পঢ়াশালিত নাম লগাই দিয়ে। পঢ়াশালিত নাম লগাই দিয়াৰ দিনাই তেখেত স্বৰবৰ্ণ যোগ নিদিয়াকৈয়ে এটা সুন্দৰ আৰু অৰ্থ থকা কবিতা ৰচনা কৰে। তাৰ পৰাই তেখেতৰ গুৰু(শিক্ষক মহেন্দ্ৰ কন্দলীয়ে শ্ৰীশঙ্কৰে যে এজন মহাপুৰুষ হব পাৰিব তাৰ লক্ষণ দেখা পাইছিল। তেওঁ অতি কম দিনতে বিদ্যাত পাৰ্গত হৈ পৰে. ফলত তেওঁ অনেক আচৰিত কাম কৰিছিল।

কৰ্ম আৰু ধৰ্ম জীৱনঃ- শ্ৰী শঙ্কৰদেৱে ১২ বছৰ কাল ভাৰতৰ নানা ঠাই নানা তীৰ্থস্থান ভ্ৰমণ কৰি আহি অসমত বৈষ্ণৱ ধৰ্ম প্ৰচাৰ কৰে। তেখেতে প্ৰচাৰ কৰা ধৰ্মক মহাপুৰুষীয়া ধৰ্ম্ম বোলে। শ্ৰী শংকৰদেৱে অসমৰ উজনিৰ পৰা নামনিলৈকে পৰ্বতে ভৈয়ামে ধৰ্ম প্ৰচাৰ কৰাৰ লগা লগে অনেক সত্ৰ স্থাপন কৰিছিল। গাৱে গাৱে নামঘৰ প্ৰতিষ্ঠা কৰি সমাজ গঠন কৰে। শ্ৰী শংকৰদেৱে বহুত পুথি ৰচনা কৰে। তাৰ ভিতৰত কীৰ্ত্তন, দশম, ভাগৱত, হৰিচন্দ্ৰ উপাখ্যান, ৰুক্মিণী হৰণ আদিয়েই প্ৰধান।

শেষকালঃ- শ্ৰীমন্ত শংকৰদেৱে জীৱনৰ শেষৰ কালছোৱা কোঁচ ৰজা নৰনাৰায়ণৰ ৰাজ সভাত আছিল। তাতেই তেখেতে বেছি ভাগ শাস্ত্ৰ পুথি লিখে। শ্ৰীমন্ত শংৰদেৱৰ ১২০ বছৰ বয়সত ১৫৬৯ চনৰ শুক্লা দ্বিতীয় তিথিত যোগবল ইচ্ছা মৃত্যু ঘটে।

# Essay on Srimanta Sankardev in Assamese || Sankardev essay in Assamese || শ্ৰীমন্ত শংকৰদেৱ ৰচনা

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Sankardev Biography in Assamese। শ্ৰীমন্ত শংকৰদেৱৰ জীৱনী

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শ্ৰীমন্ত শংকৰদেৱৰ জীৱনী Sankardev Biography in Assamese

শ্ৰীমন্ত শংকৰদেৱ একাধাৰে এগৰাকী ধৰ্ম প্ৰচাৰক, সমাজ সংগঠক, সুগায়ক, নৰ্তক, অভিনেতা, কবি, চিত্ৰকৰ আছিল। শংকৰদেৱ অসমীয়া জাতি-সাহিত্য-সংস্কৃতি নিৰ্মাতা।তেওঁ সাংস্কৃতিক প্ৰমূল্যৰে নৱবৈষ্ণৱ ধৰ্ম অথবা একশৰণ ধৰ্ম প্ৰচাৰ কৰি অসমীয়া সমাজ-জীৱনক একত্ৰিত আৰু সংহত কৰিছিল। অসমীয়া তথা ভাৰতীয় সাংস্কৃতিক জীৱনলৈ তেওঁ যি বিস্ময়কৰ অৱদান আগবঢ়াই গ’ল, তাৰ বাবে তেওঁক  মহাপুৰুষ  আৰু অৱতাৰী পুৰুষৰূপে আখ্যা দিয়া হয়।

Assamese Dictionary Click Here

পূৰ্বপুৰুষ আৰু জন্ম

খ্ৰীষ্টীয় চতুৰ্দশ শতিকাত গৌড় ৰাজ্যৰ ৰজা ধৰ্ম নাৰায়ণে তেওঁৰ বন্ধু কমতা ৰাজ্যৰ ৰজা দুৰ্লভ নাৰায়ণলৈ সাতঘৰ বিশিষ্ট ব্ৰাহ্মণ আৰু সাতঘৰ কায়স্থ মানুহ পঠাইছিল। দুৰ্লভ নাৰায়ণে বৰ আদৰ-সাদৰ কৰি তেওঁলোকৰ নিজৰ ৰাজ্যত থাকিবলৈ দিছিল। কায়স্থ সাতঘৰৰ ভিতৰত চণ্ডীবৰ নামে এজন বিদগ্ধ পণ্ডিত আছিল। ৰজাই তেওঁক ‘শিৰোমণি ভূঞা’ উপাধি দি হাজোৰ ওচৰৰ মাগুৰী নামে ঠাইত স্থানীয় শাসক পাতিছিল। কিছুদিন সেই কাম সুকলমে কৰি শেষত ভোটবিলাকৰ উপদ্ৰৱত থাকিব নোৱাৰি তেওঁ বৰ্তমান নগাঁও জিলাৰ বৰদোৱা নামে ঠাইলৈ গৈ তাতে স্থায়ীভাৱে বাস কৰিছিল। তেওঁৰ বংশতে বৰ্তমানৰ বৰদোৱাৰ প্ৰায় ৮ মাইল দূৰত অৱস্থিত আলিপুখুৰী নামে ঠাইত ১৩৭১ শকৰ (১৪৪৯ খ্ৰীষ্টাব্দ) আহিন-কাতি মাহত শংকৰদেৱৰ জন্ম হয়। শঙ্কৰৰ পিতাকৰ নাম কুসুম্বৰ ভূঞা আৰু মাকৰ নাম সত্যসন্ধা দেৱী।

বাল্যকাল আৰু শিক্ষা-দীক্ষা

শঙ্কৰদেৱৰ সৰু অৱস্থাতে পিতৃ-মাতৃৰ বিয়োগ ঘটাত বুঢ়ীমাক খেৰসুতীয়ে তেওঁক লালন পালন কৰে। সৰুতে তেওঁৰ পঢ়াৰ প্ৰতি বিশেষ ধাউতি নাছিল। খেল-ধেমালিতে কাল কটোৱা শঙ্কৰক বাৰ বছৰ বয়সত বুঢ়ীমাকে মহেন্দ্ৰ কন্দলি নামে অধ্যাপক এজনৰ টোলত নাম লগাই দিয়ে। বিদ্যা শিক্ষা আৰম্ভ কৰিয়েই শঙ্কৰে অ-আ ক-খ শিকিয়েই ভগৱান শ্ৰীকৃষ্ণৰ ভক্তি বিষয়ক কবিতা ‘কৰতল কমল’ ৰচনা কৰি সকলোকে অভিভূত কৰে। ইয়াৰ পিছতে অধ্যাপক কন্দলিয়ে শঙ্কৰক ‘দেৱ’ উপাধি প্ৰদান কৰি সকলোৰে ওপৰত ওজা ছাত্ৰ পাতে। মহেন্দ্ৰ কন্দলিৰ টোলত ছবছৰ পঢ়ি চাৰিবেদ, চৈধ্যশাস্ত্ৰ (শিক্ষা, কল্প, জ্যোতিষ, ৰীতি, নীতি, নিৰুক্ত, ছন্দঃ, শ্ৰুতি, স্মৃতি, মীমাংসা, তৰ্ক, কলাপ, তৃক, ন্যায়), ওঠৰ পুৰাণ ( মৎস্য , শিৱ, বিষ্ণু, স্কন্দ, বৰাহ, কুৰ্ম, গৰুড়, মাৰ্কণ্ডেয়, বামন, লিঙ্গ, ভৱিষ্য, ব্ৰহ্মাণ্ড, বৈৱৰ্ত্ত, পদ্ম, নাৰদী, বৃহত্‌, অগ্নি, ভাগৱত) নানা  কা ব্য, সংহিতা, ব্যাকৰণ, দৰ্শন আদি বিভিন্ন শাস্ত্ৰত পাৰ্গত হৈ উঠে। টোলত থাকোঁতেই তেওঁৰ প্ৰথমটো অনুবাদ কবিতা হৰিশ্চন্দ্ৰ উপাখ্যান লিখি উলিয়ায়। তেওঁ এজন ধীৰ-স্থিৰ, গুণী-জ্ঞানী ব্যক্তি হৈ সকলোতে বিদগ্ধ পণ্ডিত হৈ পৰে। প্ৰায় ১৭ বছৰ বয়সত শংকৰদেৱ ঘৰলৈ উভতি আহে। Sankardev Biography in Assamese

বৈবাহিক জীৱন

শঙ্কৰদেৱৰ একৈছ বছৰ বয়সত তেওঁ নিজ কান্ধত থকা শিৰোমণি ভূঞাৰ দায়িত্বভাৰ ককাক জয়ন্ত দলৈ আৰু মাধৱ দলৈক অৰ্পণ কৰিবলৈ ইচ্ছা কৰি নিজে একান্তভাৱে শাস্ত্ৰচৰ্চাত নিয়োজিত হ’বলৈ মন মেলিলে। পৰকালৰ বাবে শাস্ত্ৰজ্ঞান আহৰণ কৰি ধৰ্ম কৰাৰ প্ৰয়োজনীয়তাৰ কথা তেওঁ ককাকৰ আগত ব্যক্ত কৰিলে। অন্যথা সংসাৰৰ অৰ্থ নাই। ইয়াতে নাতিয়েকৰ সংসাৰৰ প্ৰতি বিৰাগ জন্মা বুলি চিন্তিত হৈ দুই পিতামহে চাই-চিতি হৰিবৰগিৰি নামৰ এজন ভূঞাৰ সূৰ্যৱতী নামৰ কন্যাৰ লগত শঙ্কৰদেৱৰ বিয়া পাতি দিয়ে। সেয়া আছিল ১৩৯২ শক। বিবাহৰ তিনি বছৰ পাছত ভাৰ্যা সূৰ্যৱতীৰ গৰ্ভত শঙ্কৰদেৱৰ এটি কন্যা সন্তানৰ জন্ম হয়। কন্যাটিৰ নাম থলে ‘মনু’। দুৰ্ভাগ্যবশতঃ মনুৰ বয়স ন মাহ হওঁতেই সূৰ্যৱতীৰ অকাল বিয়োগ ঘটে। পিছত দুকুৰি চৈধ্য বছৰ বয়সত সকলোৰে মতৰ সাপেক্ষে শঙ্কৰদেৱে কালিকা ভূঞাৰ কন্যা কালিন্দীক পুনৰ বিবাহ কৰে।

তীৰ্থ ভ্ৰমণ

১৪০৩ শকত ৩২ বছৰ বয়সত শঙ্কৰদেৱে প্ৰথমবাৰৰ বাবে তীৰ্থলৈ যায়। আন সোতৰজন তীৰ্থযাত্ৰী শঙ্কৰদেৱৰ লগত যাত্ৰাৰ সংগী হ’ল। এইসকলৰ ভিতৰত শিক্ষাগুৰু মহেন্দ্ৰ কন্দলিকে ধৰি ৰামৰাম, সৰ্বজয়, পৰমানদ, বলোভদ্ৰ, বলোৰাম, গোবিন্দ, নাৰায়ণ, বৰশ্ৰীৰাম, গোপাল, চোট বলোৰাম, মুকুণ্ড, মুৰাৰি, হৰিদাস, দামোদৰ, আৰু আন দুজন এই দলৰ সদস্য আছিল। শঙ্কৰদেৱে অনুগামীসকলৰ সৈতে গংগাৰ পৰা স্নান দৰ্শনেৰে আৰম্ভ কৰি জগন্নাথ-পুৰী, সীতাকুণ্ড, উত্তৰ বাহিনী গংগা, বৰাহক্ষেত্ৰ, পুষ্কৰিণী তীৰ্থ, মথুৰা, বৃন্দাবন, দ্বাৰকা, কাশী, বাৰানসী, প্ৰয়াগ, নেপাল, নিষধ, কৈকেয়, কোশল, অযোধ্যা, হস্তিনাপুৰ, পাঞ্চাল, শ্বেতদ্বীপ, কৰ্মনাশা কেশৰী, কাবেৰী, মাৰ্গকাশী, বিন্দুকাশী, কৈশিক তীৰ্থ, মুকুন্দ আশ্ৰম, পুষ্পভদ্ৰা, সোণাৰু, কপিল, গণ্ডকী নদী, উপদ্বাৰকা, অঙ্গদ নগৰ, ৰামেশ্বৰ সেতুখণ্ড, সুবাহু নগৰ, বিদিশা নগৰ, দণ্ডকা বন, চিত্ৰকুট পৰ্বত, গোদাবৰী, গোমতী, পঞ্চবটী আশ্ৰম, দা ঋষ্যমূক পৰ্বত, কিষ্কিন্ধ্যা, পুষ্কৰাৱতী, ভৰদ্বাৰ, হৰিদ্বাৰ, জয়দ্বাৰ, নৰ্মদা, মহানন্দা, কটক নগৰ, বদৰিকাশ্ৰম আদি প্ৰায়বোৰ তীৰ্থক্ষেত্ৰ আৰু ঐতিহাসিক স্থান ভ্ৰমণ কৰিলে। ১৫৫০ শকৰ আঘোণ মাহত শঙ্কৰদেৱৰ ৯৭ বছৰ বয়সত সংগী ভকতসকলৰ সৈতে তেওঁ পুনৰ তীৰ্থলৈ যায়।

শিক্ষা সমাপ্ত কৰি গুৰুগৃহৰ পৰা ঘৰলৈ ঘূৰাৰ পাছত শঙ্কৰদেৱৰ ওপৰত সংসাৰৰ গুৰু দায়িত্ব কিছুমান পৰিবলৈ ধৰে। তেওঁ নথকা অৱস্থাত শিৰোমণি ভূঞাৰ দায়িত্বভাৰ লৈ থকা ককাদেউতাক জয়ন্ত দলৈয়ে প্ৰথমেই শিৰোমণি ভূঞাৰ বিষয়ভাৰ শঙ্কৰদেৱৰ ওপৰত অৰ্পণ কৰিলে। তেনেই কম বয়সতে ভূঞাসকলৰ শ্ৰেষ্ঠ সন্মান লাভ কৰা আৰু শ্ৰেষ্ঠ দায়িত্ব পোৱা বাবে তেওঁৰ নাম ডেকাগিৰি হ’ল। শঙ্কৰদেৱে দক্ষতাৰে শাসনকাৰ্য চলাবলৈ ধৰিলে। শঙ্কৰদেৱে শিৰোমণি ভূঞাৰ দায়িত্ব লোৱাৰ কিছুদিন পিছৰে পৰা কছাৰীসকলে আলিপুখুৰী অঞ্চলত বসবাস কৰি থকা ভূঞা আৰু ব্ৰাহ্মণসকলৰ ওপৰত ঘনে ঘনে উপদ্ৰৱ কৰিবলৈ ধৰে। সকলোৰে অনুৰোধ আৰু কছাৰীসকলৰ উপদ্ৰৱলৈ লক্ষ্য ৰাখি শঙ্কৰদেৱে পৰিয়াল আৰু আন আন সকলৰ সৈতে আহি বৰদোৱাত ঘৰ-দুৱাৰ সাজি বসবাস কৰিবলৈ ল’লে। বৰদোৱাত ঘৰ-দুৱাৰ কৰি থাকোঁতে শঙ্কৰদেৱে ৰামৰাম গুৰুৰ লগত আলোচনা কৰি তাত এটি দেৱ মন্দিৰ নিমাৰ্ণ কৰাৰ সিদ্ধান্ত ল’লে। মন্দিৰৰ ভেঁটি তুলিবৰ সময়ত মাটি খান্দোতে কোৰৰ চাবত শিলত কটা চতুৰ্ভুজ বিষ্ণুমূৰ্তি এটা পালে। সেই বিষ্ণুমূৰ্তিটোকে সাতখলপীয়া সিংহাসনৰ ওপৰত প্ৰতিষ্ঠা কৰিলে। Sankardev Biography in Assamese

প্ৰথমবাৰ তীৰ্থ ভ্ৰমণ কৰোঁতে ভগৱান শ্ৰীকৃষ্ণৰ বিভিন্ন লীলাৰ লগত সম্পৰ্কিত প্ৰায়বোৰ স্থান ভ্ৰমণ কৰি ভক্তিৰসেৰে আপ্লুত হৈ শঙ্কৰদেৱে নিজৰ চিন্তাধাৰা আৰু দৃষ্টিভংগীক বিস্তৃত আৰু গভীৰ কৰি তুলিলে। ভাৰতবৰ্ষৰ বিভিন্ন ঠাইৰ কৃষ্টি-সংস্কৃতিৰ মুকুতা বুটলি নিজ মাতৃভূমিত এক নতুন ধৰ্ম-সংস্কৃতিৰ বীজ ৰোপণ কৰাৰ মানসেৰে বাৰ বছৰৰ মূৰত বিস্তৃত ভ্ৰমণসূচী সামৰি সংগীসকলৰ সৈতে ১৪১৫ শকত ( ১৮৯৩ খ্ৰী:) নিজ গৃহলৈ ঘূৰি আহিল। শঙ্কৰদেৱে তীৰ্থ ভ্ৰমণ কৰাৰ সময়ত সমগ্ৰ ভাৰতবৰ্ষত ভক্তি আন্দোলনৰ ঢৌৱে ঢৌৱাই গৈছিল। তেওঁ ভক্তি আন্দোলনৰ মতবাদৰ সৰলতা আৰু কাৰ্যকাৰিতাত অতিকৈ মুগ্ধ হৈছিল। নিজৰ ৰাজ্যৰ মানুহখিনিৰ মাজত এই সহজ-সৰল ধৰ্মীয় মদবাদ প্ৰচাৰৰ বাবে শঙ্কৰদেৱৰ মনত হাবিয়াস জন্মে। সেই সময়ত অসম ৰাজ্যখনত বিভিন্ন ধৰ্মীয় মতবাদ প্ৰচলিত আছিল। ভগৱানক উপাসনা কৰাৰ কোনো নিদিৰ্ষ্ট পদ্ধতি নাছিল। অসংখ্য দেৱ-দেৱীৰ পূজা, বৃক্ষ পূজা, শিল পূজা, সৰ্প পূজা, ডাঙৰীয়া পূজা, প্ৰকৃতি পূজা আদি জনসাধাৰণৰ মাজত ব্যাপকভাৱে প্ৰচলিত আছিল। দেৱ-দেৱীৰ সন্তুষ্টিৰ অৰ্থে মানুহে বিগ্ৰহৰ আগত পশু বলি দিছিল; আনকি নৰবলি পৰ্যন্ত চলিছিল। ধৰ্মীয় আচাৰ-বিধিবোৰ সাধাৰণতে সহজ নাছিল। শঙ্কৰদেৱৰ মনত একান্ত বিশ্বাস জন্মিছিল যে ভক্তিধৰ্মই ভিন্‌ ভিন্‌ ধৰ্মীয় বিশ্বাসৰ মানুহবোৰক একগোট কৰিব পাৰিব বা একগোট কৰি ৰাখিব পাৰিব। সকলো লোককে এটি মাথোঁন ধৰ্মীয় বিশ্বাসৰ অধীনলৈ আনিবলৈ এই ভক্তিধৰ্মই হ’ব সৰ্বোত্তম পন্থা। এনে ব্যৱস্থাত উচ্চ-নীচ, ধনী-দুখীয়াৰ প্ৰভেদ নাথাকিব। ধৰ্মীয় অনুষ্ঠানত কোনো জাকজমকতা আৰু ব্যয়বহুলতা নাথাকিব। তীৰ্থ ভ্ৰমণ কৰা কালত লাভ কৰা অভিজ্ঞতা আৰু ঈশ্বৰ ভক্তি তত্ত্বৰ পৰম জ্ঞানেৰে সমৃদ্ধ হৈ সৰ্বসাধাৰণ মানুহখিনিৰ মাজত নামধৰ্ম প্ৰচাৰ কৰি মানুহক মোক্ষ লাভৰ সহজ পথৰ সন্ধান দিলে। ভাগৱতৰ ভক্তি আৰু গীতাৰ একশৰণ একত্ৰ কৰি তেওঁ অসমত ‘এক শৰণ ভাগৱতী বৈষ্ণৱ নামধৰ্মৰ’ খুঁটি পুতিলে। বিশ্বব্ৰহ্মাণ্ডৰ সৰ্বময় কৰ্তা ভগৱান এজন আৰু তেৱেঁই হৈছে পৰমেশ্বৰ বিষ্ণু। এইজনাৰ নাম ল’লেই জগতৰ সকলো দুখ-যন্ত্ৰণাৰ পৰা পৰিত্ৰাণ পাব পৰি; সেয়ে আমি এইজনা সৰ্বশক্তিমান ভগৱানৰ চৰণত শৰণ ল’ব লাগে। শঙ্কৰদেৱে প্ৰচাৰ কৰা এই ধৰ্মই হৈছে চমুকৈ একশৰণ নামধৰ্ম। ইয়াক নৱবৈষ্ণৱ ধৰ্ম বা মহাপুৰুষীয়া ধৰ্ম বুলিও কোৱা হয়। শঙ্কৰদেৱে প্ৰচাৰ কৰা এই ধৰ্মৰ মূল আধাৰ হ’ল ‘দ্বাদশ স্কন্ধ ভাগৱত’ গ্ৰন্থ। এই ধৰ্মমতত ক্ৰিয়াকাণ্ডৰ ব্যায়বহুলতা, বলি-বিধান, যাগ-যজ্ঞ, পূজা-পাতল, মূৰ্তি-উপাসনা অদি নাই। কেৱল ‘একদেৱ, একসেৱ’ এক বিনে নাই কেৱ’ অৰ্থাৎ‌ কায়মনো বাক্য হৰিৰ নাম শ্ৰৱণ-কীৰ্তন কৰা।

শঙ্কৰদেৱে সৃষ্টিকৰ্তা ভগৱান বিষ্ণুৰ মহান গুণৰাশি জনসাধাৰণৰ মাজত প্ৰচাৰ কৰিবলৈ এক অভিনৱ নাট্যাভিনয়ৰ আয়োজন কৰিছিল। সেই নাট্যাভিনয়ক কোৱা হৈছিল চিহ্ন-যাত্ৰা (চিহ্ন=চিত্ৰ, যাত্ৰা= নাটক)। এনেদৰেই অসমত নাট্যকলাৰ জন্ম হয় শঙ্কৰদেৱৰ হাতত। গুৰুগৃহত থাকি অধ্যয়ন কৰোঁতে লাভ কৰা নটাকৰ জ্ঞান আৰু তীৰ্থভ্ৰমণ কালত লাভ কৰা অভিজ্ঞতাক ভেঁটি কৰি শঙ্কৰদেৱে ‘চিহ্ন’ নামৰ নাট এখনি লিখি তাক যাত্ৰা বিচাপে অভিনয় কৰে। সেয়ে চিহ্ন-যাত্ৰা। শঙ্কৰদেৱৰ নাট্য প্ৰতিভাৰ প্ৰথম স্বাক্ষৰ পোৱা যায় চিহ্ন-যাত্ৰাত। সংলাপহীন এই নাটকখনিৰ অভিনয় বৰদোৱাত চাৰিদিন সাতৰাতি হৈছিল বুলি কথিত। নৃত্য-গীত আৰু চৰিত্ৰৰ সমাবেশেৰে ই ৰাইজক চমত্‌কৃত কৰিছিল। চিহ্ন-যাত্ৰাৰ ৰচনাকাল ১৪৬৮ খ্ৰীষ্টাব্দ বুলি জনা যায়।

শঙ্কৰ-মাধৱৰ মহামিলন

১৪৪৪ শকৰ (১৫২২ খ্ৰীষ্টাব্দ) সময়খিনি সমগ্ৰ অসমৰ বাবে আৰু সমগ্ৰ ভক্তি আন্দোলনৰ বাবে অতি স্মৰণীয় আৰু গুৰুত্বপুৰ্ণ আছিল। কাৰণ শঙ্কৰদেৱ বেলগুৰিত থাকোঁতেই অসমৰ আন এজন মহাপুৰুষ মাধৱদেৱে প্ৰথম শঙ্কৰদেৱক লগ পায়। মাধৱদেৱ আছিল শাক্ত ধৰ্মী। পূজা-পাতল বলি বিধান আদি মানি চলিছিল তেওঁ। কিছুদিন পুৰ্বেই পিতৃ বিয়োগৰ শোক পাহৰিব নোৱাৰোতেই মাতৃৰ টান নৰিয়া হোৱাৰ খবৰ পোৱাত মাধৱদেৱে মাক আৰু পৰিয়ালৰ আশু আৰোগ্য কামনা কৰি আগন্তুক দুৰ্গা পূজাত গোসাঁনীলৈ বুলি এযোৰ বগা পঠা ছাগলী মনতে আগবঢ়ায়। যথা সময়ত বলি দিবৰ নিমিত্তে বৈনায়েক ৰামদাসক ছাগলী আনিবলৈ পঠালে। কিন্তু ৰামদাসে ইতিমধ্যেই শঙ্কৰদেৱৰ ওচৰত শৰণ লৈছিল। সেয়ে তেওঁ মাধৱক দেৱীৰ আগত জন্তু বলি দিয়া কাৰ্য ধৰ্মমতৰ পৰিপন্থী বুলি বুজালে। তাকে শুনি মাধৱৰ খং উঠিল আৰু দুয়োৰে মাজত বিতৰ্ক আৰম্ভ হ’ল আৰু এই বিতৰ্কৰ সমাধানকল্পে দুয়ো শঙ্কৰদেৱৰ ওচৰলৈ গ’ল। যথাসময়ত শঙ্কৰদেৱৰ লগত মাধৱৰ তৰ্কযুদ্ধ আৰম্ভ হ’ল। গুৰুজানে নিবৃত্তি, ভক্তি মাৰ্গ আৰু প্ৰবৃত্তি মাৰ্গৰ প্ৰমাণ দি তৰ্ক কৰিবলৈ ধৰিলে। কাৰো হাৰ-জিত নাই। সুদীৰ্ঘ ন-ঘণ্টা ধৰি দুয়োৰে মাজত যুক্তি-তৰ্ক চলাৰ পাছত শঙ্কৰদেৱে ভাগৱতৰ চতুৰ্থ স্কন্ধৰ পৰা এটি সুন্দৰ শ্লোক উল্লেখ কৰি নিবৃত্তি পথ আৰু ভক্তিমাৰ্গৰ শ্ৰেষ্ঠতা প্ৰমাণ কৰিলে আৰু বিতৰ্কৰ অন্ত পেলালে। শ্লোকটি হ’ল-

“যথাতৰোৰ্মূল নিষচনেন, তৃপ্যন্তি তত্‌স্কন্ধ- বুজোপশাখাঃ প্ৰাণোপহাৰাচ্চ যথেন্দ্ৰিয়াণাং তথা চ সৰ্বাচৰ্নমচ্যতেঙ্গ্যা। “

একেজন ঈশ্বৰ কৃষ্ণক পৰম আৰাধ্য দেৱতা বুলি গ্ৰহণ কৰি সেইদিনাৰ পৰা শাক্তপন্থী মহাতান্ত্ৰিক মাধৱ হ’ল বৈষ্ণৱসকলৰ শিৰোমণি মহাপুৰুষ শ্ৰীমাধৱদেৱ। মাধৱদেৱে শঙ্কৰদেৱৰ ওচৰত শৰণ ল’লে। ‘শঙ্কৰ-মাধৱ’ এই গুৰু-শিষ্যৰ সম্পৰ্ক হৈ পৰিল অভিন্ন আৰু তুলনাবিহীন। শঙ্কৰ-মাধৱৰ এই মহামিলনক মণি-কাঞ্চণ সংযোগ বোলা হয়। Sankardev Biography in Assamese

শঙ্কৰদেৱৰ সাহিত্য

সেই সময়ত সকলো শাস্ত্ৰই সংস্কৃত ভাষাত থকাৰ কাৰণে সাধাৰণ মানুহে তাক পঢ়ি জ্ঞান অৰ্জন কৰিব নোৱাৰিছিল। সেই অসুবিধা দুৰ কৰি সৰ্বসাধাৰণে বুজিব পৰাকৈ তেওঁ বহু সংস্কৃত গ্ৰন্থ অসমীয়ালৈ অনুবাদ কৰাৰ লগতে তাৰ সাৰ সংগ্ৰহ কৰিও বহু অসমীয়া গ্ৰন্থ ৰচনা কৰে। জনসাধাৰণক জ্ঞান আৰু আনন্দ প্ৰদানৰ চলেৰে ধৰ্ম প্ৰচাৰেই আছিল তেওঁৰ ৰচনাৰ মূল অৰ্থ। সেইবাবে তেওঁ সাধাৰণ অসমীয়া ভাষাত গীত, পদ, নাট, ৰচনা নকৰি ‘ব্ৰজাৱলী’ নামে ভাষাত ৰচনা কৰিছিল। কাৰণ এই ভাষাই সাধাৰণ মানুহৰ মাজত কৃষ্ণভক্তিৰ প্ৰতি মন কৃষ্ট কৰাত সহায় কৰিছিল। শ্ৰীশ্ৰীশঙ্কৰদেৱৰ গ্ৰন্থসমূহক কেইবাভাগত ভগাব পাৰি, যেনে:

• হৰিশ্চন্দ্ৰ উপাখ্যান
• অজামিল উপাখ্যান
• ৰুক্মিণী হৰণ কাব্য
• গজেন্দ্ৰ উপাখ্যান
• কুৰুক্ষেত্ৰ
• গোপী-উদ্ধৱ সংবাদ
• কৃষ্ণ প্ৰয়াণ – পাণ্ডব নিৰ্বাৰণ

ভক্তিতত্ত্ব প্ৰকাশক গ্ৰন্থ

• ভক্তি প্ৰদীপ
• ভক্তি ৰত্নাকৰ (সংস্কৃতত ৰচিত)
• নিমি-নৱসিদ্ধ সংবাদ

অনুবাদমূলক গ্ৰন্থ

• ভাগৱত প্ৰথম, দ্বিতীয়
• দশম স্কন্ধৰ আদিছোৱা
• দ্বাদশ স্কন্ধ
• ৰামায়ণৰ উত্তৰা কাণ্ড

অঙ্কীয়া নাট

• পত্নীপ্ৰসাদ

পাৰিজাত হৰণ

• ৰুক্মিণী হৰণ

ভাগৱতৰ দশম স্কন্ধৰ ষোড়শ-সপ্তদশ অধ্যায়ৰ ভেটিত কালিয়দমন নাট ৰচনা কৰা হৈছিল। কালি হ্ৰদত কালি নামৰ নাগে বাস কৰাৰ ফলত হ্ৰদৰ পানী বিষাক্ত হৈ পৰে। এদিন এই বিষাক্ত পানী সেৱন কৰাৰ ফলত গোপবালক সকল অচেতন হৈ মৃত্যুমুখত পৰে। কৃষ্ণই নিজৰ ঐশ্বৰিক শক্তিৰে কালি নাগক পৰাস্ত কৰি সেই হ্ৰদ এৰি যাবলৈ বাধ্য কৰে আৰু সকলো গোপবালককে জীৱন দান দিয়ে। এই কাহিনীভাগকেই ইয়াত অংকন কৰা হৈছে।

প্ৰধান প্ৰবন্ধ: কেলিগোপাল নাট

কেলিগোপাল নাটখন ভাগৱতৰ ৰাস পঞ্চ অধ্যায়ৰ আলমত ৰচনা কৰিছিল। শৰতৰ ৰাতি কৃষ্ণৰ বাঁহীৰ সুৰত আকৰ্ষিত হৈ গোপীসকলে বৃন্দাবনলৈ ঢপলিয়াই আহে। মূলতঃ শ্ৰীকৃষ্ণ আৰু গোপীসকলৰ ৰাসলীলাই এই নাটৰ উপজীব্য।

ৰুক্মিণী হৰণপ্ৰধান

প্ৰবন্ধ: ৰুক্মিণী হৰণ নাট

ৰুক্মিণী হৰণ নাটখন ভাগৱতৰ মূল সংগ্ৰহ কৰি ৰচনা কৰা হৈছিল। পিতাক ভীষ্মই কন্যা ৰুক্মীণীক কৃষ্ণৰ হাতত সমৰ্পণ কৰাৰ ইচ্ছা কৰিছিল যদিও জ্যেষ্ঠ ভাতৃ ৰুক্মবীৰে কৃষ্ণৰ পৰিৱৰ্তে ছেদীৰাজ শিশুপাললৈ ৰুক্মীণীক বিয়া দিয়াৰ ব্যৱস্থা কৰে। ইফালে ৰুক্মীণীয়ে কৃষ্ণতেই মন প্ৰাণ সঁপি দিয়ে। ভাতৃ শিশুপালক প্ৰকাশ্যে বিৰোধ কৰিব নোৱাৰি ৰুক্মীণীয়ে বেদনিধি বিপ্ৰৰ জৰিয়তে কৃষ্ণলৈ বাৰ্তা পঠায় যে তেওঁক যিকোনো উপায়ে পলুৱাই নিব লাগে আৰু সেইয়া কিদৰে সম্ভৱ হ’ব তাৰ দিহা পৰামৰ্শও তেওঁ চিঠিত উল্লেখ কৰি দিয়ে। এই সমস্ত ঘটনাৱলীকে ৰুক্মীণী হৰণ নাটত ফুটাই তোলা হৈছে।

প্ৰধান প্ৰবন্ধ: পাৰিজাত হৰণ নাট

ভাগৱত আৰু হৰিবংশৰ মূলৰ পৰা পাৰিজাত হৰণ নাটখনি ৰচনা কৰিছিল। এদিন নাৰদে শ্ৰীকৃষ্ণক এপাহ পাৰিজাত ফুল অৰ্পণ কৰে। ৰুক্মীণীয়ে ফুলপাহৰ প্ৰতি আগ্ৰহ প্ৰকাশ কৰাত কৃষ্ণই ফুলপাহ ৰুক্মীণীৰ খোপাত পিন্ধাই দিয়ে। কৃষ্ণৰ সেই কাৰ্য্যত ইৰ্ষাম্বিত হৈ আন এগৰাকী পত্নী সত্যভামাই কিদৰে ইন্দ্ৰপত্নী শচীৰ পৰা পাৰিজাত ফুল হস্তগত কৰি তাক আনি নিজৰ কোঠাৰ কাষতে ৰুৱে আৰু ৰুক্মীণীক হেয় জ্ঞান কৰি নিজকে কৃষ্ণৰ প্ৰিয় পত্নী বুলি প্ৰতিপন্ন কৰিব খুজিছে তাকেই ইয়াত দেখুওৱা হৈছে।

প্ৰধান প্ৰবন্ধ: ৰাম বিজয় নাট

ৰামায়ণৰ আদিকাণ্ডৰ সাৰ গ্ৰহণ কৰি শঙ্কৰদেৱে ৰাম নিজয় নাট ৰচনা কৰিছিল। কেনেকৈ ৰামে হৰধনু ভাঙি সীতাক লাভ কৰে আৰু অযোধ্যালৈ যাত্ৰা কৰোঁতে বাটত পৰশুৰামক যুদ্ধত পৰাস্ত কৰে এই সমস্ত ঘটনাৱলীয়ে এই নাটৰ মূল আধাৰ।

• বৰগীত (২৩৪টা বৰগীতৰ ভিতৰত ৩৫ টাহে পোৱা যায়)
• ভটিমা (দেৱভটিমা, নাটভটিমা, ৰাজভটিমা)

নাম-প্ৰসঙ্গৰ গ্ৰন্থ

বহুমুখী প্ৰতিভা.

শ্ৰীশ্ৰীশঙ্কৰদেৱ এজন বহুমুখী প্ৰতিভাসম্পন্ন লোক আছিল। ৰূপ, বল, গুণ তিনিও দিশতে তেওঁ মানুহক চমকিত কৰিছিল বুলি কোৱা হয়। ষাঁড় গৰুক পৰাস্ত কৰি, ভাদমহীয়া দুপাৰ উপচি পৰা ব্ৰহ্মপুত্ৰ নদী সাঁতুৰি বল-বীৰ্য্যৰ পৰিচয় দিছিল। প্ৰথম অ-ফলা আৰু ক-ফলা শিকিয়েই আ-কাৰ আৰু ই-কাৰ নোহোৱাকৈ ভাবগধুৰ কবিতা এটা লিখি তেওঁৰ অসামান্য প্ৰতিভাৰ পৰিচয় দাঙি ধৰিছিল। আনপিনে তেওঁ আছিল ধৰ্ম প্ৰচাৰক, সমাজ সংগঠক, সুগায়ক, নৰ্তক, অভিনেতা, কবি, চিত্ৰকৰ। তেওঁ নাটক ৰচনা কৰিয়েই ক্ষান্ত থকা নাছিল; সেইবোৰক অভিনয়ৰ দ্বাৰা মানুহৰ মন নৱবৈষ্ণৱ ধৰ্মৰ প্ৰতি আকৰ্ষণ কৰিবলৈ চেষ্টা কৰিছিল। অভিনয়ত তেওঁ নিজেও ভাও লৈছিল। সেই সময়ত তেওঁ মানুহক সাত বৈকুণ্ঠৰ পট আঁকি চিহ্নযাত্ৰা ভাওনা কৰি দেখুৱাইছিল। শঙ্কৰদেৱৰ নৱবৈষ্ণৱ ধৰ্মৰ মূল মন্ত্ৰ আছিল ‘এক দেৱ, এক সেৱ, এক বিনে নাই কেৱ’ অৰ্থাৎ কেৱল নামৰ দ্বাৰাই পৰম ভগৱন্তক লাভ কৰি ইহ সংসাৰৰ পৰা উদ্ধাৰ হোৱাৰ উপায় তেওঁ ৰচনা কৰিছিল। তেওঁৰ ধৰ্মত কোনো জাতি-ভেদ উচ্চ-নীচ ধনী-দুখীয়াৰ প্ৰভেদ নাছিল। অসমৰ বিভিন্ন ঠাইত সত্ৰ, নামঘৰ অনুষ্ঠান পাতি ধৰ্ম প্ৰচাৰৰ বাবে তেওঁ ব্যৱস্থা কৰিছিল। আজিৰ পৰা পাঁচশ ৫০০ বছৰৰ আগতে শঙ্কৰদেৱে উদাৰ মনোভাৱেৰে সমগ্ৰ অসমীয়া সমাজক একতাৰ জৰীৰে বান্ধিছিল।

তেখেতৰ প্ৰথম কবিতাটো হ’ল:

কৰতল কমল কমল দল নয়ন। ভবদব দহন গহন বন শয়ন॥ নপৰ নপৰ পৰ সতৰত গময়। সভয় মভয় ভয় মমহৰ সততয়॥ খৰতৰ বৰশৰ হত দশ বদন। খগচৰ নগধৰ ফনধৰ শয়ন॥ জগদঘ মপহৰ ভৱভয় তৰণ। পৰপদ লয় কৰ কমলজ নয়ন॥

মহাপুৰুষ শ্ৰীমন্ত শংকৰদেৱে জীৱনৰ অন্তিম সময়লৈকে ধৰ্ম প্ৰচাৰ কাৰ্য চলাই আছিল। ১৫৬৮ খ্ৰীষ্টাব্দত ১১৯ বছৰ বয়সত তেওঁ মধুপুৰ সত্ৰত ইহলীলা সম্বৰণ কৰে। সেই সময়ত কোঁচৰজা নৰনাৰায়ণৰ ৰাজত্ব চলি আছিল। কোচবিহাৰত থকা এই ভেলাদুৱাৰৰ মধুপুৰ সত্ৰত ১৪৯০ শকত ভাদ মাহৰ ২১ তাৰিখে শুক্লা দ্বিতীয়া তিথিত জগতগুৰু মহাপুৰুষ শ্ৰীমন্ত শংকৰদেৱৰ মহাপ্ৰয়াণ হৈছিল।

You also Read

• ভগৎ সিং ৰ জীৱনী
• মণিৰাম দেৱান
• নেতাজী সুভাষ চন্দ্ৰ বসু
• I collected from Wikipedia

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6 thoughts on “ Sankardev Biography in Assamese। শ্ৰীমন্ত শংকৰদেৱৰ জীৱনী ”

Tnx…for write history of sankardev biography. It make to learn his biography for every person of Assam who didn’t know his history and personality. Sankardev was a God of Assam…

Pronam jonalu , prothom kothatu hol , moi Gurujonar jonmo sthan Alipukhuri buli apunar likhonit pai xukhi hoisu. Karon kisu kisu gronthot gurujonar jonmo sthsn ‘ Botodroba ‘ buli ullekh korise. Apunar phone number tu dile kisu kotha patibo pariluheten, zodihe beta napay. Mor contact no. 9435164667. Guwahati.

I don’t know assamese but this book helps me a lot knowing about শংকৰদেৱ and now im literally very satisfied with this book literally i am loving knowing about শংকৰদেৱ thanks for the great help

Sankardev is a …….. I liked this essay very much and it is very helpful thnaks to its writer(name i have forgotten)It is very useful for that nalayaks that dont knew about Sankardev.Thanks abhi niklo

Srimanta Sankar was not only a. preacher of Vaishnab but also a scientist.He was a symbol of unity.He was the only person who brougt the Assamese and other caste of Assam under Vaisnab dharma. So think about him and we all should pray Him.

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মহাপুৰুষ শ্ৰীমন্ত শংকৰদেৱ ৰচনা | Mahapurusha Srimanta Sankardev Essay in Assamese

“জয় গুৰু শঙ্কৰ              সৰ্ব্বগুণাকৰ

যাকেৰি নাহিকে উপাম,

তাহেৰি চৰণকু                ৰেণু শত কোট

বাৰে কৰোঁহ প্রণাম।”

ভগৱান শ্রীকৃষ্ণই গীতাত কৈছে-

“যদা যদাহি ধর্মস্য গ্লানিৰ্ভৱতি ভাৰত

অভ্যুত্থানমধর্মস্য তদাত্মানং সৃজাম্যহম

পৰিত্ৰাণায় সাধুনা বিনাশায়চ দুষ্কৃতান্

ধৰ্ম্ম সংস্থাপনাথায় সম্ভৱামি যুগে যুগে।”

যেতিয়াই ধৰাত ধৰ্মৰ গ্লানি হয়, অধৰ্মৰ প্রাদুর্ভাৱ বাঢ়ে তেতিয়া সাধুসকলৰ পৰিত্ৰাণ আৰু দুষ্কৃতিকাৰীসকলৰ বিনাশ সাধন কৰি ধর্ম সংস্থাপন কৰিবলৈ যুগে যুগে অৱতাৰ ধৰোঁ। -এই বাণী যিদৰে ধৰ্ম-জগতৰ চিৰন্তন সত্য বুলি মানি লোৱা হৈছে, সেইদৰে ই ইতিহাসততা সত্য। ইতিহাসৰাে পুনৰাভিনয় হয়। চতুর্দশ আৰু পঞ্চদশ শতাব্দীৰ মাজভাগত অসমত ধৰ্মৰ বিপর্যয় ঘটিছিল। অধৰ্মৰ প্রভাৱে মানুহবিলাকক অন্ধ কৰি তুলিছিল। দেৱ-দেৱতাৰ সন্তুষ্টি লাভ কৰি বাঞ্ছিত ফল লাভৰ বাবে জীৱ-জন্তু বলি দিয়াটো নীতিত পৰিণত হৈছিল। মানুহে শদিয়াৰ কেঁচাইখাতী আৰু অন্যান্য থান আদিত উদ্দেশ্য সিদ্ধিতৰ বাবে মানুহাে বলি দিছিল।

আহােমসকলে প্রতি বছৰে একো একোটাকৈ মানুহ বলি দিছিল ৰজাঘৰীয়া অপায়-অমংগলৰপৰা পৰিত্ৰাণ পােৱাৰ উদ্দেশ্যে। বলিবােৰক “ভােগী” আখ্যা দিয়া হৈছিল। ধৰ্মৰ নামত মানুহৰ ওপৰত নানা অত্যাচাৰ-অনাচাৰ চলিছিল। ইতিহাসৰ এইছােৱা কলংকিত সময়তে পঞ্চদশ শতাব্দীৰ মাজভাগত শ্ৰীমন্ত শংকৰদেৱৰ আৱিৰ্ভাৱ হৈছিল। জনজীৱনলৈ ধর্ম-চেতনা ফিৰি আহিছিল। তেওঁ ধর্ম, শিক্ষা, সাহিত্য, সংস্কৃতিৰ বহুমুখী প্রতিভাৰ ছত্রছায়াত অসমীয়া জাতিয়ে ভেদাভেদ পৰিহৰি একতাৰ ডােলেৰে বান্ধ খাই অসমৰ বুকুত এক মহান সাম্যৰ ৰাজ প্রতিষ্ঠা কৰিছিল। ধর্মীয় জীৱন, সামাজিক জীৱন, ভাষা-সাহিত্য-সংস্কৃতি আদি সকলাে ক্ষেত্ৰতে নৱেন্মেষৰ সৃষ্টি কৰি অসমত নৱজাগৰণৰ সূচনা কৰিছিল। মহাপুৰুষজনাৰ জ্ঞান-জ্যোতিৰ পৰশে সমগ্র অসম উদ্ভাসিত কৰি তুলিছিল।

মহাপুৰুষ শ্ৰীমন্ত শংকৰদেৱ ৰ জন্ম বংশ পৰিচয়

Table of Contents

শৈশৱ – ১৪৪৯ খৃষ্টাব্দত আহিন মাহৰ শুক্লা দশমী তিথিত বৰদোৱাৰ আলিপুখুৰী গাঁৱত এইজনা মহাপুৰুষৰ আবিৰ্ভাৱ হয়। তেওঁৰ পিতৃ কুসুম্বৰ আৰু মাতৃ মহাপুণ্যৱতী সত্যসন্ধ্যা। অসমৰ বিখ্যাত বাৰভূঞাৰ পৰিয়ালত আবিৰ্ভাৱ হৈশংকৰদেৱে বংশ-গৌৰৱ যাউতিযুগীয়া কৰি থৈ গৈছে। দেৱাদিদেৱৰ শংকৰৰ বত কুসুম্বৰে এই সর্ব সুলক্ষণযুক্ত পুত্রটি লাভ কৰিছিল বাবে তেওঁৰ নাম থাৱা হৈছিল, শংকৰ শাৰদীয় চন্দ্ৰমাৰ মধুস্মিত, স্নিগ্ধ জ্যোতিৰ জ্যোতিষ্মান, শুভ লগ্নৰ যিটো মাহেন্দ্রক্ষণত তেওঁৰ আৱিৰ্ভাৱ হৈছিল, সেই ক্ষণত নানা মংগলসূচক অলৌকিক ঘটনা সংঘটিত হৈছিল। সেয়ে সূচনা কৰিছিল তেওঁ বিষ্ণুৰ অংশ বুলি।

শৈশৱতে তেওঁ পিতৃ মাতৃক হেৰুওৱাত বুঢ়ী মাক খেৰসূতী আইৰ আদৰ-যত্নেৰে লালিত-পালিত হৈ ধূলি-ধেমালিৰ আনন্দ-মধুৰ দিনবােৰ লগৰীয়াৰ লগত অতিবাহিত কৰিছিল আনন্দ-বিভােৰ হৈয়ে। অনুপম সৌন্দর্য প্রতিমূর্তি শংকৰ শাৰীৰিক বলতাে আছিল অতুলনীয় আৰু সেইবাবে শৌর্যৰ পৰিচয় দি খ্যাতিও অর্জন কৰিছিল শৈশৱতেই। বিদ্যা-শিক্ষাৰ প্ৰতি প্রতিশয় অমনােযােগী দুর্দান্ত শংকৰক লৈ খেৰসূতী মহা সংকটত পৰিবলগা হৈছিল। বহুতাে বুজনি দিহে তেওঁক মহেন্দ্ৰ কন্দলীৰ বিদ্যালয়ত ভর্তি কৰি দিব পাৰিছিল। কিন্তু কেইদিনমান বিদ্যালয়লৈ গৈ ক-ফলাখন শিকিয়ে তেওঁ যি অফুৰন্ত মেধা, প্রজ্ঞা আৰু প্ৰতিভাৰ পৰিচয় দিলে, সিয়েই তেওঁক গুৰুৰ অতি প্রিয়ভাজন কৰি তুলিলে আৰু তাৰ ফলতে গুৰুৱে তেওঁক “দেৱ” উপাধিৰে বিভূষিত কৰি ওজা ছাত্র পাতিলে। তেওঁৰ ছাত্ৰ-জীৱনৰ প্ৰতিভাৰ অবিস্মৰণীয় স্বাক্ষৰ বহন কৰিছে এইফাকি মনােৰম অথচ ভাব-গম্ভীৰ ভগৱস্তোত্রই।

Read Also: গুৰু নানক ৰচনা | Guru Nanak Essay in Assamese

শৈশৱত পাণ্ডিতৰ পৰিচয়

কৰতল কমল কমলদল নয়ন।

ভৱদৱ দহন গহন বল শয়ন।।

খৰতৰ বৰশত হতদশ বদন।

খগচৰ নগধৰ ফণধৰ শয়ন।।

নপৰ নপৰ পৰ শতৰত গময়।

সভয় মভয় মম হৰশত তয় ।।

জগ দঘ মপ হৰ ভৱ ভয় তৰণ।

পৰপদ লয় কৰ কমলজ নয়ন।।

শিশু শংকৰদেৱৰ মনীষাৰ চুড়ান্ত নিদর্শন নিহিত আছে এই স্তোত্রটিৰ প্ৰতি শব্দৰ মর্মে মর্মে অতি কম সময়ৰ ভিতৰতে তেওঁ চাৰিবেদ, চৈধ্য শাস্ত্র, ওঠৰ পুৰাণত ব্যুৎপত্তি লাভ কৰি বিদগ্ধ পাণ্ডিত্যৰ পৰিচয় দিছিল।

সাধন – শিক্ষা সাং কৰাৰ পাছত মহাপুৰুষ শ্ৰীমন্ত শংকৰদেৱ কিছুদিন ভূঞা ৰাজ্যৰ দায়িত্বও বহন কৰিবলগা হৈছিল। কিন্তু ধর্ম সংস্থাপনৰ বাবেই যাৰ অৱতাৰ, তেওঁক ৰাজকার্য, ভােগ-বিলাসে বন্দী কৰি ৰাখিব নােৱাৰে। সকলাে জলাঞ্জলি দি তেওঁ একনিষ্ঠভাৱে শাস্ত্ৰচৰ্চা আৰু আধ্যাত্মিক সাধনাত নিমগ্ন হৈ পৰে। সনাত তেওঁ সিদ্ধি লাভ কৰে। ভগৱন্তৰ মহিমাৰ অনির্বাচনীয় জ্যোতিয়ে তেওঁৰ হৃদয় ৰাজ্য উদ্ভাসিত কৰি তােলে। সেই জ্যোতিৰ আলােকত তেওঁ দেখা পায় সর্বব্যাপী, সর্বশক্তিমান, নিৰাকাৰ, অব্যক্ত ঈশ্বৰৰ দীপ্ত মূর্তি। তেওঁ উপলব্ধি কৰে- ‘কৃষ্ণস্তু ভগৱান স্বয়ং”। তেওঁৰ দৃষ্টিত ধৰা দিয়ে।

Read Also: Class 10 English Question Answer

মতবাদ আৰু ধর্মপ্রচাৰ

“যত জীৱন জঙ্গম কীট পটঙ্গম

অগনগ জগ তেৰি কায়া’

ভগৱানেই সর্বময় কর্তা; “একমেবাদ্বিতীয়।” তেৱেঁই স্রষ্টা, তেৱেঁই দ্রষ্টা, তেৱেঁই ধাতা, তেৱেঁই ত্রাতা আৰু তেৱেঁই সংহাৰোতা। সৃষ্টি, স্থিতি, প্ৰলয়ৰ তেৱেঁই অধিকাৰী। এই মতবাদৰ ভিত্তিতে তেওঁ এক শৰণ ভাগবতী ধর্ম প্রবর্তন কৰে আৰু সেয়ে পাছত মহাপুৰুষীয়া ধর্ম বা বৈষ্ণব ধর্ম নামে অভিহিত হয়। একান্ত ভক্তিভাৱে হৰিত শৰণ লৈ তেওঁৰ নাম শ্রবণ, কীর্তন কৰি সংসাৰৰ পাপ তাপ, জৰা ব্যাধিৰপৰা মুক্ত হৈ পৰমপদ লাভ কৰিব পাৰি। গীতাত ভগৱানে কৈছে- “সৰ্ব্ব ধর্মান্ পৰিত্যজ্য মামেকং শৰণং ব্রজ। বৈষ্ণৱ ধৰ্মৰ এয়ে মত- “এক দেব, এক সের, একত বিনে নাই কেও।” শ্ৰীমন্ত শংকৰদেৱৰ মতে-

“কুকুৰ, শৃগাল, গর্দভৰাে আত্মাৰাম।

জানিয়া সবাকো পৰি কৰিবা প্রণাম।” 

সেয়েহে তেওঁৰ ধৰ্মত অস্পৃশ্যতা, জাতি ভেদ, জীৱ-হিংসাৰ স্থান নাই। তেওঁৰ ধৰ্মত সাম্য আদর্শ নিহিত আছে। নগা, মিৰি, খাচী, গাৰাে, যৱন- সকলােৱে তেওঁৰ মহান ধৰ্মৰ প্রতি আকৃষ্ট হৈ তেওঁৰ শিষ্যত্ব গ্রহণ কৰিছিল।

মহাপুৰুষ শ্ৰীমন্ত শংকৰদেৱ হৰিনাম-অমৃতেৰে অসম ভূমি প্লাৱিত কৰি মানুহৰ অন্তৰে অন্তৰে, হৃদয়ৰ ৰন্ধ্রে ৰন্ধ্রে হৰিনামৰ মহিমাৰ সোঁত বােৱাই দিছিল। মহাপুৰুষজনাৰ পৰম ভক্ত মাধৱদেৱৰ ভাষাত-

“হৰিনাম ৰসে                 বৈকুণ্ঠ প্রকাশে

প্রেম অমৃতৰ নদী।

শ্ৰীমন্ত শঙ্কৰে                  পাৰ ভাঙি দিলা

বহে ব্ৰহ্মাণ্ডক ভেদি।”

এইজনা মহাপুৰুষ অলৌকিক শক্তিৰে মহিমামণ্ডিত আছিল। চান্দসাই দর্জীয়ে স্বচক্ষে তেওঁৰ চতুর্ভুজ ৰূপ দেখি গুৰুজনাৰ চোলা তৈয়াৰ কৰােতে চাৰি হাত লগাই দিছিল। অন্যান্য শিষ্যসকলেও তেওঁৰ অপাৰ মহিমাৰ প্ৰমাণ পাইছিল। সেয়েহে অসমীয়া জাতিৰ বাবে-

“শ্ৰীমন্ত শঙ্কৰ                 হৰি ভকতৰ

জানা যে কল্পতৰু

তাহান্ত বিনা ই                নাহি নাহি আৰ

আমাৰ পৰম গুৰু।”

মহাপুৰুষ শ্ৰীমন্ত শংকৰদেৱ দুবাৰকৈ তীর্থ ভ্রমণ কৰি নানা সাধু, সন্ত, মহন্তৰ লগত ধর্মালােচনা কৰি তেওঁ প্ৰৱর্তিত ধর্মমতৰ শ্ৰেষ্ঠতা প্রতিপন্ন কৰিছিল। তেওঁ গৃহী আছিল। দুবাৰকৈ বিবাহ-বন্ধনত আবদ্ধ হৈছিল। কিন্তু মহাপুৰুষ শ্ৰীমন্ত শংকৰদেৱ অনাসক্ত গৃহী আছিল। তেওঁৰ ধৰ্মত গৃহী আৰু গৃহত্যাগীৰ সমান স্থান। গার্হস্থ্য ধর্ম পালন কৰিও মানুহে ভগৱানৰ কৰুণা লাভ কৰিব পাৰে-

“বলি নিগদতি যদুপতি                 ৰাম ৰাম ৰাম ৰাম ৰাম

কিনাে কৃপা মােক কৰিলাহা নাৰায়ণ।

দেৱৰ দুৰ্লভ অতিশয়                    ৰাম ৰাম ৰাম ৰাম ৰাম

গৃহতে থাকিয়া দেখিলোঁ তযু চৰণ।”

সাহিত্য আৰু সংস্কৃতিক অৱদান

শ্ৰীমন্ত শংকৰদেৱে গীত আৰু নাট এই দুটি অতি হৃদয়গ্রাহী আৰু মনােৰঞ্জনৰ আটাইতকৈ শক্তিশালী সমলক ধর্ম প্ৰচাৰৰ মাধ্যম হিচাপে বাছি লৈছিল। বৰগীত আৰু অংকীয়া নাট গুৰুজনাৰ আপুৰুগীয়া অৱদান। তেওঁ ছকুৰি বৰগীত আৰু চিহ্ন-যাত্রা, কালীয় দমন, কেলি গােপাল, ৰাম বিজয়, ৰুক্মিণী হৰণ, পাৰিজাত হৰণ, পত্নী প্রসাদ আদি নাট ৰচনা কৰি ইয়াৰ প্ৰভাৱেৰে অসমীয়াৰ ধর্মীয় জীৱন মহীয়ান কৰি থৈ গৈছে। গীত, নাট পৰিবেশনৰ অংগস্বৰূপে খােল, তাল, ডবা, কাহ, শংখ, মৃদংগ আদিৰ সুষ্টি কৰি সংস্কৃতিৰ ভঁৰালাে চহকী কৰি থৈছে। ধর্ম প্রচাৰৰ প্রেৰণাতে কীর্তন ৰচিত হৈছে। কীর্তন অসমীয়া জাতিৰ বেদ। সৃষ্টিতত্ত্ব, ভক্তি তত্ত্ব, মুক্তিৰ বাণী- সামাজিক জীৱনধাৰাৰ মূর্তিমান ছবি কীৰ্তনৰ বুকুতে নিহিত আছে।

ভাগৱতৰ ১ম, ২য়, ৩য় স্কন্ধৰ ৬ষ্ঠ স্কন্ধৰ প্ৰথমছােৱা, ৮মৰ ২ৰপৰা ২৩ অধ্যায়লৈ, দশমৰ আদিছােৱা, ১১শ আৰু দ্বাদশ স্কন্ধ গুৰুজনাই ৰচনা কৰে। তদুপৰি ভাগৱতৰ কাহিনীক লৈ সুকীয়াকৈ হৰিশ্চন্দ্ৰ উপাখ্যান, অজামিল উপাখ্যান, বলিছলন ইত্যাদি আৰু অন্যান্য গ্রন্থৰ ভিতৰত ভক্তিপ্রদীপ অনাদি পাতন, ভক্তি ৰত্নাকৰ, গুণমালা, নিমিনরসিদ্ধ, ৰামায়ণৰ উত্তৰাকাণ্ড আদি বহুতাে গ্রন্থ প্রণয়ন কৰি ধৰ্মৰ জগতখনকে যে বিনন্দীয়া ৰূপেৰে সজাই থৈ গৈছে এনে নহয়, অসমীয়া ভাষা আৰু সাহিত্যকো উভৈদনী সম্ভাৰেৰে চহকী কৰি অসমভূমিত গজগজীয়া কৰি থৈ গৈছে। তদুপৰি এই গ্রন্থবােৰৰ মাজত অসমীয়া জাতিৰ ৰীতি-নীতি, আচাৰ-ব্যৱহাৰ, অসমীয়া সংস্কৃতি, অসমৰ মনােমােহা প্রকৃতিৰ মনােৰম বর্ণনা আদি সন্নিবিষ্ট কৰি সমগ্ৰ অসমীয়া জাতিটোকে গ্রন্থায়িত কৰি গৈছে। এই ক্ষেত্ৰত কোচৰাজ নৰনাৰায়ণ আৰু চিলাৰায়ে গুৰুজনালৈ আগবঢ়োৱা অসীম সহায়-সহানুভূতির চিৰস্মৰণীয়।

জনসমাৱেশ ঘটাই, সামূহিকভাৱে হৰিনাম কীর্তন কৰা, গীত-মাত, ভাওনা আদি পৰিৱেশন কৰা, মিলি-জুলি একতাৰে কাম সম্পাদন কৰা আদিৰ ক্ষেত্ৰত নামঘৰৰ উদ্ভাৱন গুৰুজনাৰ আন এটা বিশিষ্ট অৱদান।

মুঠতে গুৰুজনাই কুৰি বছৰীয়া মানৱী-লীলাৰ কালছােৱাত অসমীয়া সমাজখন আটক ধুনীয়াকৈ সজাই-পৰাই, বৈষ্ণৱ ধৰ্মৰ মহিমাৰে পৱিত্ৰ কৰি, ভাষা-সাহিত্য, সংস্কৃতিৰ বৰঘৰ শুৱনি কৰি, অসমীয়াৰ কণ্ঠত গৌৰৱৰ, গৰিমাৰমহিমাৰ জয়মাল্য পিন্ধাই থৈ গ’ল। একেজন পুৰুষেই ধর্ম, ভাষা, সাহিত্য-সংস্কৃতি আৰু সমাজবাদ প্রতিষ্ঠাত ইমানবােৰ অৱদান, অৰিহণা দি যাবলৈ সক্ষম হােৱা মহাপুৰুষ ভাৰত কিয়, পৃথিৱীৰ বুৰঞ্জীতে শ্ৰীমন্ত শংকৰদেৱৰ বাদে দ্বিতীয় এজন অৱতাৰ হােৱা নাই। তেওঁ মানৱলীলা সম্বৰণ কৰােতেও এপাহ পদুম ফুলৰ ৰূপতহে অৱশিষ্ট ৰাখি থৈ গৈছিল।

মহাপুৰুষ শ্ৰীমন্ত শংকৰদেৱ “একমেবাদ্বিতীয়” ৰূপে আবির্ভূত হৈ সেই ৰূপতে পৰম ব্রহ্মতি লীন হ’ল।

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Assam scholar’s essay on saint-reformer Srimanta Sankardeva in Harvard course material

Sanjib kumar borkakoti, an industrial economist based in central assam’s nagaon, has been a researcher of medieval assamese literature and various aspects of sankari culture steeped in the variant of vaishnavism that sankaradeva propagated.

Updated - May 04, 2020 11:12 am IST

Published - May 04, 2020 11:11 am IST - GUWAHATI

Professor Sanjib Kumar Borkakoti.

An Assamese scholar’s essay on 15th-century saint-reformer Srimanta Sankaradeva has been included as part of the course material for the Harvard University’s Department of Religion.

Sanjib Kumar Borkakoti, an industrial economist based in central Assam’s Nagaon, has been a researcher of medieval Assamese literature and various aspects of Sankari culture steeped in the variant of Vaishnavism that Sankaradeva propagated.

A decade ago, he had uploaded his essay ‘Unique features of Srimanta Sankaradeva’s religious philosophy Vivaratanvâda: Comparison with other Sanâtana Hindu philosophies’ on a blog dedicated to the saint-reformer who was also a scholar, poet and playwright.

“I am not sure for how long Harvard University’s Department of Religion has been using the essay that was in the public domain. But I found out last week when the university uploaded a part of the treatise as Religion S-1010 probably because of pandemic-related online dissemination of course,” Dr. Borkakoti told The Hindu from Nagaon, about 125 km east of Guwahati.

“Except for the Jawaharlal Nehru University from where I did my post-graduation in 1983, Indian universities do not use acknowledged scholastic works as study material unlike Harvard or other Western universities,” said the 60-year-old Associate Professor of Economics at Nagaon’s A.D.P. College.

Sankaradeva was born in Nagaon district’s Batadrava, also spelt Bordowa, in September 1449. He lived for 119 years and died at Bheladonga, now in West Bengal’s Cooch Behar district.

According to Dr. Borkakoti, who has written several books on Sankaradeva, the saint-reformer founded a new Vaishnavite order within Hinduism.

“I named his philosophy Vivartanavâda as it facilitates the elevation of the creature from the primary dual state to the non-dual state of identity with Brahma. There are eight distinct features of this philosophy,” Dr. Borkakoti said.

Harvard’s Department of Religion, he added, offered a range of religious traditions from ancient Zoroastrian tradition to modern Christian liberation movements, Islamic and Jewish philosophies, Buddhist social movements and Hindu arts and culture.

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Essay on Srimanta Sankardeva

If I am asked to name the greatest personality of Assam, who has contributed most to the Assamese life and culture, I would not have any hesitation in taking the name of Srimata Sankardeva as my choice. I am sure my co-patriots of the state wouldn’t differ on my choice, for, there is none in the history of Assam who has exercised so much influence on Assamese way of life, culture, literature and religion as Sankardeva has done.

In fact, without his noble contributions the Assamese culture and literature would not have been what it is today. The footprints of this ‘Mahapurusha (great soul) are still visible on the present-day Assam.

Sankardeva was born at Alipukhuri, near Bordowa in the present district of Nagaon, in the year 1449. He lost his parents early in life and was brought up by his paternal grandmother.

He started schooling at the age of 13 and seemed to have completed it by the age of 17 in 1470. He was a child prodigy who showed his intellectual brilliance at an early age. Soon thereafter he got married. However, three years later his wife passed away leaving behind a daughter whom he married off in 1481. Then he set out on a pilgrimage to North India to seek wisdom and knowledge. In his pilgrimage, he is supposed to have met the famous saint Kabir of North India as well as many sages and wise men. On his return from pilgrimage, Sankardeva married again, and began his second phase of life.

Image Source: enajori.com

Soon after his return from pilgrimage, Sankardeva got settled in Majuli Island and started preaching his new faith called Bhagavati Vaishnav Dharma. He stood against the meaningless rites and rituals of the day and preached a simple faith to the people. The principal point of his new faith was the “Ek Sharaniya Naama Dharma,” i.e., chanting of the name of one god devotedly.

For him the worship of the idols of numerous gods and goddesses were unnecessary as the same supreme soul exists in all human beings. He taught that devotion, not salvation is the aim of all human life. He also opposed vehemently all class distinctions and man-made social barriers. Ultimate emphasis was placed on singing and reciting of Bhajans.

For this purpose, he wrote a book named’ Kirtan Ghosha’ which till today has remained a priceless gem of Vaishnava thoughts. In the task of establishing the new faith, he was helped by his disciples named Madhabdev, Damodar Dev, Haridev, etc.

After having set up the new cult on a strong footing, in the Ahom kingdom, Sankardeva with his disciples settled at Koch Behar, the capital of Koch kingdom in the year 1537. After a long earthly sojourn of 118 years, Sankardeva breathed his last in the year 1568 leaving behind a trail of immortal fame.

Today Srimanta Sankardeva is remembered not only as a great religious reformer and preacher, but also as a great scholar and a renowned writer. Sankardeva greatly enriched Assamese language and literature and raised it to a high level of excellence. His main work includes, books such as, ‘Harish Chandra Upakhyana’, ‘Rukminiharana Kavya’, ‘Gunamala’,Bali-Chalana, Amritha-Manthana, ‘Gajendra Upakhayana’, Kuruskshetra’, ‘Ramavijayanta’, etc. Sankardeva’s ‘Kirtan-ghosha’, the book of songs based on Bhagavad-Purana is the bible of Assamese Vaishnavism.

His ‘Bhakti Ratnakar’ is a masterpiece in Sanskrit exposing his wide learning and profound scholarship. His concept of ‘Satra and ‘Nam ghar’ have revolutionised social life in Assam. Sankardeva is also credited to have developed a new type of dance form called ‘Satriya. His dramatic works such as, ‘Rukminiharan, ‘Parijat Haran, ‘Kaliyadamana, etc., have raised Assamese literature to great heights. His fight against social demarcation of the time will go down as another lasting legacy of this great soul.

Today Assam and the Assamese people can never forget the noble contributions of this great son of the soil. Assam is yet to produce a man of his intellectual depth, legacy and greatness. He has made the Assamese people pulsate with a new culture, a new faith and a new social order. The Renaissance in Assamese culture and literature initiated by Srimanta Sankardeva continues to echo throughout the length and breadth of Assam even today.

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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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My School Essay in English (100, 200, 300, 500 words)

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My School Essay 100 Words

My school is a place where I get educated; learn new subjects under the guidance of trained and skilled teachers. I study at a school that is near my home. It is one of the best schools in my entire town. The management of my school believes that it isn’t only academic excellence that we should be after, but also the overall personality development and evolving into a good and useful human being.

The school has two playgrounds – one is a tennis court and the other one is a cricket ground. We also have a nice swimming pool and a canteen. It also has a beautiful garden where students relax and play during recess. Even in games, sports and tournaments, it has made much progress. My school has won many trophies, shields, and medals in many extra-curricular activities. In debates also, the students of my school secure good positions. It is considered to be one of the best schools in my locality.

My School Essay 200 Words

The school is called the educational institution which is designed to provide learning spaces and create an environment for the children where the teaching of the students is under the direction and guidance of the teachers.

My School is one of the best educational institutions where I get an education and make progress towards the goals of my life and make me capable of achieving them. Besides education, there are several significant roles that my school plays in my life. My school is performing well in all fields. It develops my physical and mental stamina, instills confidence, and

gives me tremendous opportunities to prove my skills and talents in different fields. In the academic field, it has made a mark. Its students secure top positions in the board examinations.

I go to school with my other friends. We study in our school in a great friendly environment. We reach school at a fixed time. As soon as we reach we line up to attend the assembly. Attending the school assembly is a wonderful experience. I enjoy for being first in a row in a school assembly. As soon as the assembly ends we rush to our respective classrooms. We take part in all school activities. One of my school fellows is the best singer and dancer. She has recently won the best singer award at the annual arts festival. Our school organizes all-important national events like Independence Day, teachers’ day, father’s day, etc. My school also gives every student abundant opportunities to take part in extracurricular activities like sports and music.

All of us are proud of being a part of it. I am fortunate enough to be a student at this school. I love and am proud of my school.

My School Essay 300 Words

An institution where higher education is taught is commonly called a school, University College, or University. Most countries have systems of formal education, which is sometimes compulsory. In these systems, Students progress through a series of schools. The names for these schools vary by country but generally include primary school for young children and secondary school for teenagers who have completed primary education.

My school is a place where I not only get educated but also get trained in other necessary competitive skills like sports, music, and dance. I am proud of my school because it provides us with all the basic facilities like a big playground, a central library, a big auditorium hall, a science lab, and a good computer lab. That is why my school is rated as one of the best schools in my entire area. My school has produced many great people in my country. It has a big and beautiful building that looks shiny from far away. I reach my target at a fixed time. I came to school with other friends of mine. We happily enter the schools with great confidence. We take part in a school assembly and then we move into our classrooms.

This all is done by a very efficient and well-trained teaching staff of my school. The best schools are those that make the students the best and the best school is made by the best teachers. We study under the guidance of the best teachers. My school has a dedicated teacher for all the subjects as well as extracurricular activities like music and sports. I consider my school as the best school because it supports and encourages every student to do their best and make progress. Fortunately, my school provides the best environment, the best teachers, and the best facilities.

Our Class teacher greets us daily and asks about us. He is quite a cool and kind man. He entertains us along with teaching his subject. We learn a lot of things like discipline, self-help, confidence, and cooperation here. As I enter my classroom I feel quite happy and relaxed.

My School Essay 500 Words

The place where children as the leaders of tomorrow study and where the future of the nation is shaped are called schools. Education is an essential weapon for tomorrow, so the good schools of today are important for the best future of a nation. Schools are the center of learning where we attend classes on various subjects, interact with the teachers, get our queries

answered, and appeared in exams. In my school, learning is more like a fun activity, because of the extra-talented teaching staff.

My school is a government primary school located on the outskirts of the city. Usually, when people think about a government school, they perceive it to be at an isolated location and have poor basic amenities and teaching facilities. But, despite being a government school, my school defies all such speculations. Teachers of my school are not only knowledgeable about the subjects they teach but also are skilled enough to teach through fun activities. For example, our physics teacher explains every concept by stating real-life examples that we could relate to. This way we not only understand the subject better. Moreover, not a moment I remember, when any teacher had ever replied rudely to any of the students. They always patiently listen and provide answers to all the queries posed to them. Learning at my school is fun and it is made possible only because of the teachers.

My school is very important in my life, in a way even more than my family. My family gives me love, care, and affection, and provides for all my other essential needs. But, all of this isn’t enough to make me a good human being and succeed in life.  Favorably, I am lucky enough to be enrolled in a prestigious school, and gaining a wonderful education, looking forward to realizing my dreams one day. The most necessary for success in life is education, and only my school provides it to me. Without my school and the education that it gives, I would be like a confused and wandering soul, almost aimless in life.

My school helps with my educational and overall personality development. It imparts education through classes, tests, and exams to teach me how to conduct myself confidently. It just feels so great to be in my school and be a part of everyday activities, be it lectures, sports, or Something else. While in school, I always feel happy, confident, enthusiastic, and loved. I make friends at school, those whom I will never forget and will always love them. My family supports my materialistic needs, but school is the place where my actual physical, social, and mental development takes place.  I know that every question that crosses my mind will be answered by my teachers. I also know that my school friends will always be at my side whenever I need them to be. As much as the studies, my school also stresses much on These activities as the management thinks that extracurricular activities are very essential for our overall personality development. My school provides dedicated teachers and staff for each extracurricular activity. We have a big sports ground with kits for all the major sports; a covered auditorium for dance and music and a separate basketball court.

The role my school plays in my personality development is fantastic. It not only imparts education in me but also teaches me how to conduct myself and how to behave decently and properly. I get trained in all the other necessary skills of life, like how to keep calm in challenging situations and help others as well. My school teaches me to be a good and evolved human being, to stay composed and progressive always. It also teaches me to be kind and generous to others and not differentiate them based on their caste, religion, ethnicity, or other divisions. These are some of the most essential personality traits that my school imparts to me, something that I will always be thankful for. Every time I think of my school, I think of it as a temple of education. A temple, where my soul meets education, making my life more meaningful and useful to society and the nation as well. It is a place where my aspirations get a wing and I get the strength and confidence to realize them. No other place in the entire world could replace my school and the role that it plays in my life. I will always be thankful to my friends, teachers, and the staff of my school, for making it such a comfortable and Educational place of learning.

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श्रीमंत शंकरदेव का जीवन परिचय

श्रीमंत शंकरदेव का जन्म एक सुसंस्कृत परिवार में हुआ था । उनका जन्म नगाँव जिले के आलिपुखुरी नामक स्थान में हुआ था । इनके माता – पिता का निधन बचपन में ही हो गया था । इनके पिता का नाम कुसुम्बर भूया था ।

शंकरदेव का पालन पोषण उनकी दादी खेरसुती ने किया था । ये बचपन से ही प्रतिभाशाली थे । इन्होंने अल्पायु में ही बिना मात्रा की एक भावपूर्ण कविता लिख डाली । यह कजिता इनके । जीवन की प्रथम कविता है ।

इन्होंने 22 वर्ष की आयु में समस्त वेद , पुराण , उपनिषद एवं व्याकरण का ज्ञान प्राप्त कर लिया । इनका विवाह सूर्यवती से हुआ । विद्याध्ययन के बाद इन्हें अपनी रियासत का कार्यभार देखना पड़ता था । अतः शास्तचर्चा में व्यवधान होने लगा ।

इसी कारण उन्होंने समस्त कार्यभार अपने चाचा को सौंपकर भगवतचर्चा में सेला रहने लगे । शंकरदेव के एक पत्री का जन्म हुआ । दुर्भाग्यवश उस समय ही इनकी पत्नी का निधन हो गया । उस कारण उनको मानसिक आघात लगा ।

इसके बाद इनके हृदय में वैराग्य की भावना उत्पन्न हो गयी और वे देशाटन के लिए निकल पड़े । । शंकरदेव विभिन्न तीर्थों में भ्रमण करते रहे । तीर्थाल के समय इनको । विद्वानों , साधु एवं संतों से हुई । विद्वानों के सम्पर्क में रहने के कारण इनके ज्ञानकोश में वृद्धि हुई । इसके बाद इन्होंने वैष्णव धर्म का प्रचार करना प्रारम्भ किया ।

असम प्रदेश के लोग प्राचीन काल से ही अन्धविश्वास व आडम्बरों से ग्रस्त थे । उस समय लोग तन्त्र – मन्त्र व तांत्रिकों तथा सामाजिक रूदियों में जकडे हए थे । श्री शंकरदेव ने एकेश्वरवाद पर बल दिया । वे मूर्ति पूजा के भी भोर विरोधी थे ।

श्री . शंकरदेव को अपने धर्म के प्रति विशेष अभिरुचि थी । फलतः उन्होंने अनेक धार्मिक ग्रन्थों की रचना की । उनमें ‘ कीर्तन घोषा ‘ प्रमख है । इसके अतिरिका । अंकिया नाट का भी निर्माण किया । इन्होंने स्थान – स्थान पर धर्म का प्रचार करने के । लिए नामघर का निर्माण किया ।

श्री शंकरदेव ने असम के लोगों में अहिंसात्मक क्रान्ति लाने का प्रयास किया । उन्होंने लोगों के हृदय से अज्ञान का अन्धकार दूर कर जन जागृति उत्पन्न की । शंकरदेव की धारणा थी कि धर्म तोड़ता नहीं जोड़ता है । धर्म हमारी मन , बुद्धि एवं आत्मा के परिष्कार का प्रबल साधन है । ईश्वर एवं धर्म के प्रति आस्था ही मापन कल्याण की प्रमुख स्रोत है ।

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