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Home , Assamese people, Banikanta Kakati, Borgeet, Kalita (caste), Nilachal, Sankardev

International Journal of Research in Humanities and Social Studies Volume 4, Issue 12, 2017, PP 22-26 ISSN 2394-6288 (Print) & ISSN 2394-6296 (Online)

The Role of Neo-Vaisnavism in Renaissance the ’s Faith, Culture, Ethics and National Integration: An Analysis

Satyajit Department of Philosophy, Suren College, Hajo, *Corresponding Author: Satyajit Kalita, Department of Philosophy, Suren Das College, Hajo, India

ABSTRACT Sankardeva (1449 -1569), a spiritual emancipator, literary genius and treasure of versatile personality of during the medieval period, needs no introduction to the people of North-East India. He engendered a revolution in the socio-cultural life of the through his Neo- Vaisnavite movement i.e. a turning point in the history of religion and philosophy of the in Assam. His Vaisnavism (surrender to only one God; ) in resurrection the Assamese people’s faith, culture, conscience and national integration, plays an important role in the society of Assam. It is an important to note to be mentioned here that the Vaisnavism became the faith and culture of Assamese social life under the guidance of Sankardeva and his followers. The productive and versatile contributions of Sankaradeva recommend that he was primarily a philosopher of culture in which religion (Vaisnavism- Eka sarana nama ) being an important component, worked as a powerful force. His versatile faculty in the field of religion and philosophy, literature and culture and accomplishment as a singer, dramatist, painter, architect, actor, poet etc attracted, inspired and guided the people of Assam. His comprehensive contributions towards Assamese society have turned him into a National Integrator for the people of Assam. Through this discourse we endeavor to focus the role of and his Vaisnavism in resurrection the Assamese people’s faith, culture, conscience and national integration. Keywords: Srimanta Sankardeva, Vaisnavism, faith, Culture, National integration.

INTRODUCTION the foundation of a greater Assamese nation. Assam presented a very grim scenario in Pre arayano naam Bulibaro phale Vaisnavite period. Spirituality looked wanting Nistarila Ajamile in religion and socio-political rivalry and opportunist purposes worsened the conditions of Bishnuk chintiya Chaturbhuj Roope the people. This condition is called a low ebb in Boikunthat Arohila. faith society, culture and prospect of a strong future nation. The greater Assam of Su-ka-pha (-Ghosa, 188) was a blurred vision. Sankardeva and his neo Sankardeva (1449-1569), an immensely gifted vaisnavite movement provided a new lease of genius, blessed this pristine land of Assam in the life to the people. So, we have made an attempt 15th and 16th Centuries with his theological to call this a resurrection of faith, culture, teachings, blended with various colours of social society and national integrity. To estimate the and cultural elements. However, this valley on daunting task accomplished by Sankardeva first either side of the mighty Brahmaputra was not a the condition of Assam before his advent is set stage for him to let the essence of discussed and then how he accomplished it are movement flow smoothly. The people in this discussed. region were curled in the wreaths of Tantraism, illiteracy, lingering amidst caste discriminations AIMS AND OBJECTIVES and socio political segregation and conflicts. This paper Endeavour‟s to focus the role of Faith, culture, society and the prospect of a Sankardev and his Vaisnavism in resurrection future of a greater integrated nation were in a the Assamese people‟s faith, culture, conscience pandemonium. Sankardeva not only spread the and national integration. cult of in Assam but also This paper also makes an effort to focal point enriched the people socially, culturally and laid the state of Assam before and after his advent.

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FINDINGS AND DISCUSSION On the other hand, the caste-system had become so tyrannical that it had rattled the very The Brahmaputra valley was a land of foundations of the society. The Brahmana amalgamation of both and Non- Aryan priests and pandits who had managed to attain culture. Hence, the land was having diversity in for themselves in the high seats in the helm of its perennial flow of spirituality and faith. Since power did everything they possibly could to prehistoric time the worship of Lord have maintain their stranglehold on society. All been the prime cult of religious practice but with people in the Koch kingdom, for instance, were the evolution of time the interest of worshiping required to follow the caste system, perform Lord Shiva was wreathed in the coil of Tantric their functions and observe other customs and practices. The worship of took an manners, as directed by Siddhanta Vagisa. inhumane turn. The condition of the time is Those who went against it were severely rightly described in these lines of Charit: punished by the king and were boycotted by E dexot purbokale nasila bhakati/ Nana their own people. dharma-karma loke korila samprati/ The great bulk of the population had no light of Nana deva pujoyo karay boli daan/Hax education and there was a conflict of interest saga para kate axankhya pramamn/ between the literate few and the illiterate many. The Tantric way of worship turned into highly This fact was exploited to the hilt by the licentious and bloody affair. The Kamakhya Brahmanas who lost no time in prohibiting the temple in the Nilachal, Kamakhya of Hatimura lower strata from studying (even viewing) the and Tamreswari temple were the centres of religious texts. Thus religion had become shakti worship. demanded the offering practically a closed system with the Brahmanas of blood to the deity. The Kalikapurana contains possessing all the 'proprietary' rights over it. a very detail description of sacrificial rituals. Such social disparity exaggerated the political The concept of Bhogi-as it was mentioned in Sir differences between various tribes as well. Edward Gait‟s description of tamreswari Ahoms, Koch, Kachari,Chutia etc ethnic temple-clearly authenticates the practice of differences made a possibility of a greater nation human sacrifice too. A Bhogi was a man a far cry. selected for sacrifice to the God, who was given As a tributary to the Vaisnavite Movement of free access to have sexual contentment with any India, Sankardeva propagated neo vaisnavite female of the society. The Bhogi and the movement in Assam in the 15th and 16th practice of the Devdasi were actually the centuries. His philosophy may be said to have patriarchal approaches to consider women as been influenced by philosophy and mere objects for male eroticism. Scriptures such advaitic of Sankaracharya, but with the as kalikapurana, Joginitantra, Kulanav importance of a personal god who can be authenticate such a nadir in spirituality. Here are achieved by devotion, Sankardeva preached a few lines of Kulanav Tantra: with a self-engineered path of Bhakti. Advaitic Amisava sauravahinang jashya mukhang Sankaracharya believed in „Ahang Brahmami” vabet /prayachitti but Sankardeva didn‟t say “Ahang”.He Sabarjyacha pasureba na sangsaya interpreted the or and Atma of Upanishada opting for . The Apart from Saktism, a system of later term Brahman for Sankardeva was synonymous known as Vajrayana had taken root in Assam. It to god and it is without form. was associated with rituals, sorcery and necromancy. In actual practice, the Vajrayana “Tumi brahma/tomat prokaxe jogot system was against religion and morality. It eto defined nirvana as 'mahasukha' and permitted Jogotot matro,tumihe prokaxa/ontorjami indulgence in the five ma-karas. As Dimbeswar vogobonto” Neog said religious rites included madya, (Kirtanghosa, Vedasthuti) mamsa, , mudra, maithuna and it was Sankardeva postulated Him as an impersonal even permitted to have sexual relationship with super-entity being the creator, sustainer and any woman except the mother.1 There was now destroyer of this universe. But common man a combination of the orthodox cult of ascribes form and qualities to him for devotional Hatha and Buddhist tantricism. The purpose. There are three concepts of god in religion was devoid of purity and sacred Sankardeva‟s philosophy are – the absolute spiritual essence.

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(Brahman), the perfect creator, sustainer and because everyone can set nama in his destroyer and one as a God of flesh and blood heart and consciousness. But it must be mentioned who can be intimate and become source of here that it was not an easy task for Sankardeva inspiration and courage. These three facets are to break down the shackles of a society which the three modes of realizing god. Sankardeva was based on a strong caste system. By accepted the concept of personal god in relation establishing Naamghar he provided an to the world. He described it more or less in opportunity to all sections of people to practice human form. He called this God , religious discourses together. Naamghar is a Bishnu or . great museum of the nation which put the “xomosto kasthote ogni asonto biyapi temple imposed prohibitions out of our social practice. Sankardeva wanted to liberate the Ghorixona bine tangko nedekhe kodapi marginalised section of the society saying - Xehimote asa Krishna xoware hiyat Bishnu baishnabara kinchiteko nahi vedo. In this Bhokoti bihine koito nuhike xakhyat” 1 manner Sankardeva preached a faith in which Though it has a personality it is beyond the god and men were assimilated into one. Most ephemeral reality and he sang importantly, the saran system as prescribed by Jodyopi bhokti noybidh madhabar/ the Geeta was administered to all irrespective of shrabana kirtana tatte oti. caste creed and language. This was a purely democratised concept of equality propagated by The concept of maya plays an important role in Sankardeva through his Ek Saran Naam Dharma. Sankardeva‟s religious philosophy. Maya is the “Brahmanara chandalara nibisari kul” inseparable power of god and is responsible for this manifold universe of world appearance. He “kukuroko khay heno mless gone describes Maya as a part of God and similarly Xio xuddho howe harir kirtane” all living beings are but parts of God. (Kirtan Ghosa, 117) “Othara jibana dhan joubon jaya “Chandalo harinam lowe matro Bhokoti birodhi bixoyo sob maya Koribe usito jagyara patro” Krishna kingkara ohi sankara vana Bine hari bhakati tarani nahi ana” (Kirtan Ghosa- 118) It is due to ignorance we lose perspective of life He succeeded in breaking the shackle of by succumbing to ethereal imposed reality in religious disparity in the society by a purely guise of maya. But when we become conscious liberal concept of universal fraternity. of the existence of Jivatma and Paramatma our Parar dharmik nihingkhiba kadasit salvation is attained. However, Sankardeva did Kariba bhaktak daya khakarunsit. (Bhakti not ask people to give up the world to attain Pradip, 141) mukti. He preached an objective approach to life And he even seemed to realize a greater by being conscious of the Oversoul. existence of living being by saying. Sankardeva tried to give a new life to humanity “Poxu xoriroto ase jana eto bixoyoro joto by rescuing them from the scourge of irrelevant xukh and prejudices dogmas. He wanted to build such a society which would be based on humanity, Jito dheer hoi tejiya bixoy torok xonxaro devoid of any distinction in caste or creed, dukh” language or habitation, royalty or peasantry. In (Bhaktiratnakar, 38) the broad sense, his whole ideology was based Sankardeva ushered in a humane and democratic on three main principles, i.e. liberty, equality approach to faith and provided everyone with and fraternity. Sankardeva was highly praised the opportunity to realize the essence of over soul because he could destroy the age old caste within him. But this would not have been barriers which had ruined the social structure of possible if he had not also taken up the arduous the country. He renounced that „Nahi Bhakatit task of introducing the illiterate people with the jati ajati bichar,hari bhaktit samastare adhikar‟. sacred books and their philosophy. Prior to According to him, one should not have to be Sankardeva the literature comprised of various from privileged class for reciting Krishna nama, scriptures of Tantricism and Shakti cult. Besides this the Sarjyageet, Shrikrishna Kirtan of Chandi Das were found to have originated in Assam. 1. Neog Dimbeswar, Vaishnava Dharmor Aatiguri, But in its true sense, in the ancient form of the p-57.

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Assamese language the writers like Madhav “Sanskrit natokor oitijyo prak sankar jugot Kandali, Hem and their contemporaries asomot onuxrito huar xomvabona nui koribo translated the , and some Puranik and nuari. Bhaskar Barmar rajsabhat seena poribrajok other legendary verses. However, those works hieu-en-Tsang r xonmanarthe ayojan kora were in no way deliberated for resurgence of nrityo-geetor ullekhe Asomot prasin sastriya faith as it was the case with Sankardeva. nritya geetor aru ovinoyor prosolon korar ingit Maheswar Neog envisaged upon this fact by bohon kore.Todupori Sanskrit tol xomuhot quoting Madhav Kandali “doivo bani nohe eto Bharatar natya sastra aru Sanskrit natok je loukik he kotha”2 . Many of the texts earlier had pathyokromot ontorbhukto hoisil xei bixoye more weight age of Sanskrit as well. It was xondeh nai.aanhate ojapalior dore onusthan Sankardeva who tried to divulge the common asomot prak-sankar jugor porai prosolito hoi men and their consciousness with the essence of ahise.ei kotha o smoroniyo j sankardevar pitri bhakti and mukrti by “Ek dev,ek xev”, through kusumbar bhuyan o sangeetot parodorxi putting the kernel of Shrimadvagawat in simple asil.ullekhjugyo j sankardeve botris bosor intelligible language. Sankardeva took up the boyoxot logot keibajonu xongi xoho responsibility to translate the sayings of the Bharatbarsha r xomuh bhromon koribor Bhagawata and the Geeta into Assamese. He babe ulai.teo uttar Bharatbarshar prai xokolubur used Brajaboli language as his medium, since it tirtha bhraman korar kotha Gurucharitot pua jai was the most prevalent language among mass of ru digholiya koi teo orissar purit roisil.ai xomoy the entire Indian eastern part. By doing so, he sowat teo nrityo-geet-obhinoyor bibhinno accomplished half of his task. Sibanath Barman ansolik rupor logot Bharatiya Sastriya nrityo- rightly said about Sankardeva that- he did no geet-obhinoyor sakhyux porisoy lav koraru accomplished literal translation of , xujog ghotisil.Nrityo-geet-badyo-natok aru rather he took the kernel and fashioned it with obhinoy xomporke prasin Asomor oitijyor pora local elements. The very essence of his Ek Saran pua xomol ,tirtha bhramanar jogedi lav kora Nam Dharma is pillarised in Kirtan Ghoxa. The sakhyux obhigyota aru natyo sastroke dhori two parts of Urekha Barnan and Namaparadh sastra xomuhor odhyoyon ai ataibilakei are taken from Brahmapuran and Padmapuran. natyokolal dhormo prosaror madhyom hisape The part of Pasanda Mardan was taken from byobohar korar upojugita xomporke teok j various slokas of Bhagawat Puran. The protyoy daan korisil xei xomporke xondeh nai.” remaining parts of it are the matters included in 3 Bhagawat Purana. Kirtan Ghosa is enriched with But outside the periphery of Sanskrit the various „Rasa‟ however, Bhakti Rasa is only extent dramatic mode of performances was supreme. Another magnificent creation of Ojapali and Puppet Plays. It was Sankardeva Sankardeva is . It is simplified version who gathered from the granary of Sanskrit of Srimadbhagawat. Besides these Sankardeva dramaturgy the elements of sloka, bhatima, translated 1st, 2nd, 3rd, 6th, 8th, and 10th parts nandi, sutradhar and the division of act to of Srimadbhagawat into simple Assamese. compile the form of dramatic expression which Bhakta pradip, Anadi Patan, Nimi Navasidhi are is known as „‟Ongkiya ‟‟. However, he some other religious books of Sankardeva. didn‟t follow Sanskrit dramaturgy to the letters. These books proved to be the guiding lamp for One significant deviation is the sutradhar which the people since, Sankardeva‟s faith also he introduced in “nandi” unlike the Sanskrit inculcated through its various “bidhis” of plays. He also masterly crafted acting and music „Sarana‟ character building, discipline, hygiene into his place namely- Patniprasad, Kalia and various interpersonal relational matters too. Daman, Keligopal, Rukminiharan, Parijat haran, Sankardeva was such a treasure of humane Ram Vijay. Sankardev initiated this dramatic faculty which led him to the role of an aesthetic journey with Sinha Jatra. reformer also. Here, the word aesthetic is used 4”Charit puthir mote teo bhramanar pora ahi to refer to Sankardeva‟s contribution in the field Bordowat Brindabon adir ji biboron of drama, fine arts and music. In Dr. Naghen dangi dhorisil xei biboron xuni xokoluwe saikiasa words – krishnaleela sao bolat teo “Sihna jatra”r ati

3. Saikiya Nagen, Baikuntha Dutay- Sankardeva & 2. Dr. Sarma Hemanta Kumar, Akhamiya Khahitat Angkiyanat, Souvenir 85, p- 120. Drishtipat, p- 70. 4. Ibid, p- 121.

25 International Journal of Research in Humanities and Social Studies V4● I12● 2017 The Role of Neo-Vaisnavism in Renaissance the Assamese People’s Faith, Culture, Ethics and National Integration: An Analysis obhinobo porikolpona kori uliyale.pandit and various tals. Besides , Maheswar Neoge likhise,”Gurugrihot satrorupe Sankardeva composed Bhatimas. Sankardeva is ji kabyo aru natyor gyan ahoron korisil aru baro also the introducers of various musical bosor tirtha bhramanat ji obhigyota lovisil,tar instruments such as . The Charit Puthis uproot bhitti kori “Sihno” namere prothom nicely described how he first endeavored khol- ongko ba naat likhi tar jatra ba bhaona kore.ai “Boloram atoi axiya tekhone/kholor sihno jatrai asomiya sangeet aru natyokolar ek jukhoko dila obhutopurbo obhinoy-adhyay aru Bharatiya sangeet aru natya sahityar buronjeer e ati notun Troyodox angulo baam vage janadahine paat mukoli kori diye.” no angulo koila”(Charit puthi) Sankardeva created this special kind of drama He also used Bhortal from Bhot .To architecture; for the purpose of spreading cognizably the Sankardeva also brought changes for a better message of god among the common people. and simple demeanor. From the previous This purpose was somewhat similar to that of troublesome concrete architecture of temples the origin of English drama. The elements of Sankardeva shifted to simple bamboo made Sanskrit drama are mixed with the essence of Namgharas. This engineered a locally available Bhaktism and common people were attracted structural foundation for the mass. thereto with its dance music and songs. The CONCLUSION attraction eventually yielded in the essence of Bhakti and the common people without any As it is known to have been said by Mahatma dexterity in theological text merged into such Gandhi “A great Vaisnavite revival under rasas. Sankardeva in the 16th century has made Assamese people kindly, tolerant and human. Untill the advent of Sankardeva dance form in There is no sign anywhere of that from Assam had a restrained ambit with only the untouchability which is found in Northern and temple centric religious dance and folkdance. Southern India”, Sankardeva with his multifaceted Sankardeva mingled the classical form of dance talent redefined the role of a religious leader. He to device a kind of dance form which is called succeeded in resurrecting the people‟s faith and Satria Dance. However, it is the Bor Geets national integrity by accomplishing literary as which touched the spiritual cord of the mass. well as cultural advancement. Sankardeva came helped in spreading neo- to the Assamese society as a savior. He spread more than other aesthetic element of Sankardeva. Neo Vaisnavism in Assam and resurrected the Dr. said that these songs were whole society refurnishing its faith, culture, like winged arrows, wherever it landed it created social structure and integrity. This obviously the cult of Vaishnavism. Narayan Thakur came to makes him a National Hero of this pristine Sankardeva‟s saran after listening to „man meri Brahmaputra valley. saranehi lage‟ sung by a bhakat. Similarly Chilarai came to Sankardeva after listening to a Borgeet REFERENCES sung by his wife - (gurucharit). Dr. B.K. Kakati [1] Neog Dimbeswar, Vaishnava Dharmor called these noble numbers, like those of Aatiguri, p-57. Herrick‟s holy religious verses. Kaliram Medhi [2] Dr. Sarma Hemanta Kumar, Akhamiya called them great songs. The extant Borgeets of Khahitat Drishtipat, p- 70. Sankardeva are 34; of Madhavdeva is 157.These [3] Saikiya Nagen, Baikuntha Dutay- Sankardeva aesthetic songs having the cadence of classical & Angkiyanat, Souvenir 85, p-120. tone, restrained imagination and rhythm, they [4] Ibid, p- 121. are truly Borgeets. These songs are based on 13

Citation: Satyajit Kalita "The Role of Neo-Vaisnavism in Renaissance the Assamese People’s Faith, Culture, Ethics and National Integration: An Analysis" International Journal of Research in Humanities and social Studies, vol 4, no. 12, 2017, pp. 22-26. Copyright: © 2017 Satyajit Kalita. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.

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