Sankardev, also known as Srimanta Sankardev, was a revered saint, scholar, and cultural icon in Assam, Bharat. He lived during the 15th and 16th centuries, making significant contributions to the cultural and religious landscape of the region. Sankardev is best remembered as the founder of the Bhakti movement in Assam, and he played a crucial role in developing Assamese literature and performing arts.
Born on Vijaydashami in 1449 C E in the village of Alipukhuri, Sankardev’s early life was marked by a deep spiritual inclination. He sought to bridge the gap between various communities and promote unity through his teachings. Sankardev is credited with establishing the Neo-Vaishnavism movement, which emphasised devotion to Bhagwan Krishna and advocated for a simpler, more inclusive worship.
Sankardev’s literary contributions are vast and include the creation of the “Borgeets” (devotional songs), “Ankia Naats” (one-act plays), and the “Bhagavat,” a holy scripture. He also initiated the construction of the “Satras,” monastic institutions that served as cultural and religious activity centres.
His efforts extended beyond religion and literature, as Sankardev worked to promote social harmony and eradicate social evils. His legacy has endured, and Sankardev is widely revered not only as a saint and philosopher but also as a cultural icon whose influence continues to shape the ethos of Assamese society. The annual festival of “Magh Bihu” in Assam is celebrated in honour of Sankardev, reflecting the profound impact he had on the cultural and spiritual life of the region.
Although the central role of Sankardev in the socio-cultural lives of the Assamese people was that of a religious saint, the source of his influence, which echoes everywhere in literature, music and arts, were his unique thoughts and actions towards the expansion of Krishna-Bhakti marg and its ideals. Through his philosophical justifications, he engaged himself through all his activities in uniting people of all communities under one roof. The major objective behind his creations was the overall development of the lives and occupation of his people. Sankardev tried to offer his people a structured and noble life, who were enlightened by spiritual consciousness. Even after the passage of five centuries, influence of the Neo-Vaishnavite movements pioneered by Sankardev over Assamese society is fresh. His philosophy of life never included superstition, caste discrimination, or other social prejudices.
He established Naamghars and Sattras guided by the motto “Sarba Dharma Sanatana” (All Religion is Sanatan religion). His religion viewed people equally, irrespective of caste and class. By introducing Ankiya Naat, Bhaona brought a cultural and social renaissance across the state. While engaging ourselves in the evaluation of Neo- the Vaisnavite movement, we always remain amazed by the well-expansiveness of the philosophy of Sankardev and its influence on the lives and occupation of Assamese people.
The comprehensive meaning of “Occupation” is “Work”. In other words, earning a life can be communicated as “Occupation”. The main source of livelihood in an agricultural state like Assam was farming. But different paths came up in the field of occupation in the wake of the Neo-Vaishnavite movement. People became economically well-settled around the Naamghars and Sattras. They even started their livelihood by making “Khool” used in Ankiya Naats. Consequently, the Vaishnavite tradition never remained in religious confines and established itself as a unique trend of changing the socio-cultural lives of people.
In the history of Assam, the sixteenth century witnessed new developments and innovations in the state’s social life. Different small states assumed the larger state forms such as Assam, Kamrup and Behar which brought in political balance in the Sankari state and helped develop a well-encompassing culture to a great extent. At that time, Devi Marg of religion and Shiva Marg of religion had become the means of exploitation for the tribal people of the state in the pretext of religious practices. The scriptures were written in classical language, which was unable to maintain religious unity amongst the people. But Sakardev did not accept the popular version of religious practices and embraced Vaishnavism and published “Chidananda-Ghana-Swarupa” of Upanishad and explored a revolutionary means in the history of religion. He created the image of Bhagwan Krishna of Bhagawat Geeta for the understanding of the masses. The philosophy of Sankardev enunciated the spirituality of Assamese society and established principles of social morality. His innovation explored the knowledge range while remaining within the confines of earlier times.
The grand old 400 years of tradition practised by the Sattras exhibit quite a vivid picture of social discipline and order. One salient characteristic of Sankardev’s philosophy was that he was not orthodox. His attempts to enrich his culture and society by connecting the ideals of Sanatan Hindu dharma to strengthen his own are widely known. The consequence of the assimilation of items of different cultures came out as Sankardev’s achievement altogether. In the centres of Hindu religion in Bharat, temples were built in permanent forms by bricks and stones. Still, Sankardeva built in the Naamghars and Manikuts with the help of essentials like bamboo, wood and thatching grass which was an easier practice for common people. (Adhunik Asamiya Sahityat Sankardev Prasanga, p. 4) Initially, the conservatives and the intolerant group of people did never accept Sankara for his stand against all existing principles of the society. The life of common people was full of difficulties.
In Upper Assam, the Paik system tremendously influenced people’s lives. They lived like slaves under feudal governance. The picture of common people could easily be guessed through the act of sending Sankar and Madhab to catch elephants in the forests. But they came all overcame the obstacles and transformed themselves into saviours of mankind from the hands of slavery. He abolished the discriminations existing at the level of class and caste and gathered all the people on the same floor. Sankardev would probably be one of the foremost rebels to abolish untouchability in the region. In the language of Naam-Ghosa: “Garo bhot jawane hori nam loi” and “ram buli tore miri oxom kochari”. All these people have been well embraced in the same tie of nationalism, following the same religion. The basis of the religion propounded by Sankardev was established upon the means of equality maintained for all kinds of illiterate, poor and helpless people in the state. He never spread religion, preferring the kings and other elite classes. He even famed those people who were dehumanised after considering them as inferior and untouchables in the society.
The tale of Radhika Shanti is widely popular as the myth of reclaiming the lost identity of the fisherman community under the aegis of Sankerdev. He could become the favourite of the mankind by making mankind free from all kinds of social enslavement and by engaging the people of the state in a peaceful and well-maintained social decorum. His main motive was to liberate women from the kinds of oppression and intolerance as maintained by the upper-class people of the state towards the lower class people. Therefore, the tales of Kirat, Kachari and Chandal find a more convenient space in his discourse rather than that of the Brahmins, Kayashta and such upper classes. In his language:
Kiart kachari khasi garo miri Jawan kanka gowal
Oxom muluk dhua je turuk Kubas mless chandal.
Livelihood of the People and the Role of Sankardev
Occupation is an essential aspect of human life that makes people’s lives safe. During Sankardev times, the central source of livelihood of people was agriculture. But this cannot be the only means of survival. Keeping in mind this aspect, Sankardeva took an initiative to open up different possibilities of means of survival in the state. The Viashnavite culture of Sankardev’s times is rich in the production of material objects. These include different wooden idols, masks, cool beds made of the teeth of elephants, flowery fans, Brindawani clothes, Image of Chihnajatra-Sapta Baikuntha, the art of the building of thrones, the style of preparing the leaves of Saachi for the creation of books etc. The architecture of the time could be identified through the image of Naamghar, Kirtan Ghar, Devagriha, Sattra etc. All these monumental settings provided a means of livelihood to the people. People started showing interest in earning a livelihood by engaging in fields such as Barhoi, potmaking, Kumar, painting, etc. Besides, different posts like Naamghoriya, Sattradhikar, etc., were created to care for institutions such as Naamghar and Sattra. Although these paths are not considered as paths of employment through these ways, people could easily find ways of self-employment to a great extent. The essential artistic items were made from wood, Earth, and horn. There was the tradition of the use of different instruments in the Vaishnav society.
Several new instruments were created centring around the Sankari literature and performance arts. These instruments could be obtained through the exercise of performing arts. Hence, Sankardev’s role in the creation of excellent instrumentalists engaged in the performance of instruments was significant.
Such instruments included Kahali, Mohori, Dhool, Khul, Sankha, Bheri, Dundubhi, Doba, Mridang, Taal, Raamtaal, Kartaal, Bipanchi, Dotara, Beena, Banshi, Tabla, Dogor, Dama, Manjeera, Suruj, Singa etc. All groups of people were involved in the Neo-Vaishnavite movement. Hereby, different paths of self-employment were opened up. In this context, Prafulla Bora remarks: “Different professional groups also became active members of the Vaishnav society even after standing at individual points. Sankardev found out singers, musicians, actors amidst such naïve group of people and made them active artist in different fields. He engaged simple waivers in preparing different Chittrapats of Baikuntha, built up Singhaxon, Mayuraxon, Garudaxon and such kind of thrones for Manikutas along-with built up several instruments. Getting the courage of Sankardev, common people practiced classical music, dictated the Sanskrit slokas of plays clearly and performed Sutradhari dances. He could well observe the local cultures and the elements there because of his maintenance no difference between the king and the public and his maintenance of the authority of Shiromoni Bhuyan. Therefore, by means of intermingling different elements of Putola-dance, Ujapali and Sanskrit dance forms, he could become the pioneer of an original dramatic art form in Assam.” (Adhunik Asamiya Sahityat Sankardev Prasanga, p. 5-6)
In his Kirtans Sankara mentions some of the professional castes of Assam: the Baniyas or goldsmiths, the Sutars or carpenters, the Chandalas, the Kamars, the Kumbhakaras, the Natas and others. Many of these professional people are mentioned in the biographies of saints. Among the Vaishnava following of Sankara and Madhava were Kamalapati and Krishna, oilmen, and Haridasa, a Baniya. Mention is made of snake-charmer Yogis and silk-worm-rearer Yogis (Katanis), Tatis with their group-leaders called Marals, Kamars, Carmars, Hiras and Kumars, Candalas or Carals, kaibortas, Dhobas, Napits or barbers, Salais or confectioners. These were people whose professions made an indelible mark on their caste or social position. Other professionals were not marked- the ploughman, boatman, fuel sellers, alkali sellers or Khariyas, traders in various commodities, etc. The Muslims, in some instances, worked as tailors…Spinning and weaving, like agriculture, were common occupations of people. Even ladies of high birth considered these a part of their common household duties…those who worked on handlooms for their own sake, they were the professional weavers (Tatis), who worked for money, and had to pay a loom tax to the government.”
The social panorama of the time contemporary to Sankardev
Notably, a Hindu society had developed a tendency of Caste discrimination and sacrificial systems during that time, which was not written in the Vedic period. In the name of religion, the affluent castes tried to dominate the unfortunate castes in the country… After having experienced travel around the religious places, he thought of propagating Naam-dharma amongst all classes of people, this was the strongest base that Sankardev established for the development of people irrespective of class and caste. He opposed the sacrificial systems existing in the Hindu religion and considered God without any form. His acceptance of all four classes of people: Brahmin, Kshatriya, Baishya, and Shudra proved that there should not be any class discrimination system in society. This helped in bringing welfare to all people beyond any class-related barrier. ”
Through his literatures, we can identify the contribution of Sankardev to the Assamese people’s spiritual, cultural and social life. Through the search for the central God amongst many gods, the creation of social awareness towards the Sanatan Truth, the removal of work-religion differences, the establishment of a pure heart as the major point of spiritual realisation, removal of class differences from the society- all these are considered essential gifts of Sankerdev to Assamese society.” (Sri Sri Sankardev, p. 110) Assamese social heritage and its strength is established upon the creations of Sankardev such as Borgeet, Bhatima, Dance and Naamghar.
Edward Burnett Taylor remarks: “Culture is that complex whole which includes knowledge, belief, art, morals, law, custom and any other capabilities and habits acquired by man as member of society.” Culture is such a unit which the members of a society from different sources of knowledge, faith, arts, rules, tradition, customs etc, acquire. Thus, by bringing in newness and reformation in every strata of society, Sankardev brought innumerable societal developments. The creations of Sankardev are the most precious gems of Assamese literature. His creations, such as Borgeet, Classical music, etc., have been able to project in the Bharatiya national platform with a unique fragrance. By following the model of Sankari songs, different new songs were created in later years, which became popular amidst the masses everywhere. Sattriya dance is such an interesting dance type, which is equally popular and original as Kathak and Bharatanatyam. Bhaona is another instance of the beauty and gravity of Assamese performance arts. The creator of this form of dance was Sankardev. Through Bhaona, he made the art of dance immensely popular amongst people. He was well excelled in painting. He designed the Special Brindaban-Leela cloth of Bhagwan Krishna with all his efforts and also beautifully crafted “Xaat Baikunthar Pot” in variegated colours. It is pretty difficult to know whether such craftsmanship is visible in Assam after Sankardev. Notwithstanding, Sankardev tremendously contributed to the growth and development of Assamese national life.
The missionaries in Assam realised the importance of Sankardev in the social life of Assam with their first footsteps on this soil. Miles Bronson mentions in a letter to “The Friend of India”, the Bharatiya daily about the significance of Sankardev in the following words: “He came down to the level of the people and translated form Sanskrit these portions of Hindu sacred books, and presented them to the people of in their familiar dialect. Relieved of a foreign tongue and from difficult and abstruse terms, the people could now chant the praises of their gods in their familiar language of childhood. They too among them like wildfire, and are to this day increasingly popular.” (Adhunik Asamiya Sahityat Sankardev Prasanga, p. 10)
Sankardev was the first revolutionary of North-East Bharat, and the main motto of his revolution was to change social values and develop the entire society with the creation of an environment for those historical changes. Hegel remarked somewhere: “No revolution is possible without a renaissance.” “Revolution is the driving force of history, also of religion, of philosophy and all other types of theory.” (Selected Works, vol.1, p. 42)
Jyotiprasad’ s thoughts on Sankardev was also thought-provoking. He left his remarks on this ideal person in his songs, treatises and poems. He said in one of his songs : “xunor decor, mohapuruxor, sankar-madhavor, xunmuliya sanskritiye, puhor dea, aei prithiwit, xunor jiwonor” (Of the golden country, of great saints,of Sankar and Madhav, The golden culture enlightens culture, brightens the world, in this Earth, of golden life.” He dreamt that the villages would be considered the centres of Vaishnav culture and that, by centring the Naamghar, a larger society would be developed. He said: “amar gaonor namgharoloi prithiwik matiba…” (call the Earth to the Naamghar of our village). Besides Jyotiprasad, Bezbarua Bishnu Rabha and such scholars have also expressed their opinions regarding creating a larger society using study, explanation and application of Sankari elements in reality. Such instances reveal that Sankari literatures tried to construct the society in well-structured form and etiquette. Sankardev tried to build up amiable conditions for maintaining a well balance between Hari-Hara with the consciousness of the prevalence of Shaiva religious trend in Kamrup-Assam. He even let the Bihu songs and Bihu festival enter the Sattra and Naamghars with religious fragrance. He transformed the Bihu songs to Husaris with the purified resounding of Hari-Naam. Sankardev emphasised the devotion of Bhagwan Rama more than any delicate feeling, which was a result of the contemporary trend of society. In the words of Dr Suniti Kumar Chatterjee: “The amoral and unsocial ideal of the figure of the parakiya moral turpitude was carefully avided by Sankerdeva.” Sankardev was able to identify the soul’s location and its existence within dogs and foxes, revealing the democratic and socialistic thought of this significant figure. As a consequence, the untouchability was not able to spring its roots in Assam. In reality, he is the real founder of Assam.
The central aim of the Bhakti movement was to develop people’s lives.
The fact behind the transformation of the formless Brahma in Upanishads to the formed Brahma in the Puranas was the awareness of the assumptions of folk arts. The origin and expansion of the Bhakti Marg lies in the social system. The development of religion is possible only as a consequence of the engagement of folk religion with the Vedic system of Bhagwan Vishnu’s worshipping. Therefore, Sankardev added local artistic elements to his creations’ literary narratives and performance arts. Even in his translation of Bhagawat Purana, he never hesitated to include the folk-culture elements. He adds an explanation for the critics in such stanzas:
“jiba kisu boha dekhisa etu oporadh era Bashyu dento kothat ranjan
aanu mohakobisoy kabyorox nibondhoi Tak nindoi kun hadhujon”
Sankardev and Social Development through Mass Communication Medium
The mediums that can influence a large section of people are regarded as Mass media. Mass media’s role is remarkable for society’s development through social awareness and the spread of social proclamations and religious, moral or didactic proceedings. Mass media includes radio, television, newspapers, etc., but during the time of Sankerdeva, these mediums were unavailable. We have an inner belief that deities and idols attain satisfaction only through dance music, orchestra, acting and dramatic performances. Bhagwan Krishna himself expresses this by addressing his disciple Uddhav in the holy Bhagawat Geeta as
“upogayan grinan nrityan karmavinayan mam
xot katha shrawyan shrinan muhurtwa khyaniko bhawet ”
Here, Bhagwan Krishna advises Uddhav to enjoy eternal joy by celebrating his works like songs, dance, musical drama and chanting lines from Kirtana. ( Mahapurush Srimanta Sankardev, p. 22) Hereby we can state that Sankardev created “Borgeets” to generate spiritual consciousness and make people aware of the prevailing traditional beliefs. The Borgeets help broadcast the religious, aesthetic, ethical, moral values, recreation, socialisation, social contract, and social protest and help progress for favourable conditions through telecast, knowledge, cultural authenticity and social unity, and the preaching of religion. In the words of Banikanta Kakoti: “The songs of Sankardev and Madhavdev sprouted seeds of spiritual sensibility in those places wherever they fell like winged arrows .” An author’s means of communication/mass media created by Sankardev was “Ankiya Bhaona”. This means have contributed immensely to restoring morality, values and proclamations in other parts of Bharat. Ankiya Bhaona is comparatively more powerful than music and dance.
As Banikanta Kakoti mentioned: “Man is fond of entertainment and pleasure by nature and one advantage of Bhaona is that it gives a lesson to people along- with joy and entertainment. In ancient Vaishnavite literature, the place of Bhaona is situated at the point of entertaining the folk minds and enlightening them through collection of folk items.” Both spreading of joy and promulgation of values can be obtained through acting. Dramatists awaken joy in the audience’s mind, and for this assessment, people of remotest areas assemble to watch the performances. In later times, Sankardev’s “Ankiya Naat” germinated into full-fledged dramas, and even now, it is developing, and various dramas in the mother tongue are sprouting. This also contributes to the development of social taste and choices. Besides producing exceptional directors, this evolution also gave birth to innumerable well-wishers and spectators.
Moreover, drama paved a new way for the artists for live. Like the growth in “Naats”, we witness progress in the way of living in the Assamese society, too. Therefore, by this deliberation, we can easily reckon that Sankardev created songs, music, dance, drama and Bhaona and used it as a medium to communicate with the masses and spread the Neo-Vaishnavite values, philosophy, and beliefs along with influencing people using spirituality for the progress in the way of living of the people altogether.
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