Sankardev

Srimanta Sankardev(/ˈsrɪˌmæntəˈsænkərˌdeɪv/,Assamese pronunciation:[sɹimɔntɔxɔŋkɔɹdew];1449–1568) was a 15th–16th centuryAssamesepolymath;a saint-scholar, poet, playwright, dancer, actor, musician, artist social-religious reformer and a figure of importance in the cultural and religious history of theBhakti movementinAssam.He is credited with building on past cultural relics and devising new forms of music (Borgeet), theatrical performance (Ankia Naat,Bhaona), dance (Sattriya), literary language (Brajavali). Besides, he has left a literary oeuvre of trans-created scriptures (Bhagavat of Sankardev), poetry and theological works written in Sanskrit, Assamese andBrajavali.TheBhagavaticreligious movement he started,Ekasarana Dharmaand also called Neo-Vaishnavite movement,influenced two medieval kingdoms –Kochand theAhom kingdom– and the assembly of devotees he initiated evolved over time into monastic centers calledSattras,which continue to be important socio-religious institutions in Assam and to a lesser extent inNorth Bengal.

Sankardev
Imaginary portrait of Srimanta Sankardev byBishnu Prasad Rabha
Personal
Born	1449, Bordowa,old name is Alipukhuri, Tembuani Nagaon district,Assam,India)
Died	7 September 1568 Bheladonga (TodayCooch Behar,West Bengal,India)
Religion	Ekasarana Dharma(Vaishnavism)
Parents	Kusumbar Siromani Bhuyan(father) Satyasandhya (mother)
Organization
Founder of	Ekasarana Dharma
Philosophy	Ekasarana
Senior posting
Successor	Madhavdev
Honors	Venerated asMahapurusha

Quotation

Do, therefore, regard all and everything as though they were God Himself!? Seek not to know the caste of aBrahmananor of aChandala.

His literary and artistic contributions are living traditions in Assam today. The religion he preached is practised by a large population, andSattras(monasteries) that he and his followers established continue to flourish and sustain his legacy.

Biography

After the death of Sankardev,Madhavdevincorporated narrations of his life in prayer services, a practice that was followed by his apostles, and in due course of time a large body of biographical literature arose.These are generally classed in two groups: early (those by Daityari Thakur, Bhusan Dwija, Ramananda Dwija and Vaikuntha Dwija) and late (Guruvarnanaby Aniruddha Das, the more than one anonymousKatha-guru-carits,Bardowa-carit,Sankardev caritrafrom Barpeta, theSaru-svarga-khandaandBar-svarga-khandaby Sarvabhauma).The authorship of the biography credited to Ramcaran Thakur, Daityari Thakur's father, is doubted and it is generally dated to the 17th-century and classed with the late biographies.

In general, all biographies consider Sankardev as an incarnation of Vishnu, including that by Daityari Thakur, the earliest. The late biographies differ from the early group on the count that they ascribe supernatural feats to Sankardev, and describe miraculous events; and there is a tendency to read some events of the Bhagavata into his life. The biographies are full of contradictions; even though the earlier ones are considered more accurate, not all they claim are true—Daityari Thakur's biography, the earliest one, claims Sankardev met with Chaitanya, which is now not accepted to be true.

Early life: Bordowa

Kirtan Ghar in the birthplace of Simanta Sankardev.

Sankardev's Family Tree Chandivara Sandhya Rajadhara Devahuti Khersuti Suryavara Jayanta Halayudha Madhava Satyasandha Kusumvara Anudhriti Satananda Suryavati Sankardev Kalindi Haladhara Ramaraya Hari Manu Ramananda Kamalocana Haricarana Kamalapriya Chilarai Purushottam Chaturbhuj

Sankardev, then named Sankaravara,was born into the Shiromani (chief)Baro-Bhuyansfamily atBordowa(Alipukhuri, Tembuani) in present-dayNagaondistrict in c1449.Though some authors have expressed doubt that Sankardev could have lived that long, considering that he was of good health 1449 is generally accepted.The Baro-Bhuyans were independent landlords in Assam, and Sankardev belonged to theKayastha (in Assam, they are commonly known as the Kalita caste)Hindu caste. His family-members, including parents Kusumvar Bhuyan and Satyasandhya Devi, wereSaktas.Sankardev lost his father to smallpox when he was about 7 years old,and his mother died either soon after his birth, or soon after his father's death;and he was raised by his grandmother Khersuti.

He began attending Mahendra Kandali'stolorchatrasaal(school) at the age of 12 and soon wrote his first verseskaratala-kamala. 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 stayed at thetolduring his teens, and studied grammar and Indian scriptures.He practisedyoga(which he gave up later) and was physically very able,and according to legend, he could swim across theBrahmaputrawhile it was in spate. It is generally believed that he wrote his first work,Harishchandra upakhyan,while at thetol.Mahendra Kandali changed his name to 'Sankardev' while he was at school.

Bhuyanshiromaniship

Sankardev soon mastered the major scriptures and thereafter left thetolin his late teens (c1465) to attend to his responsibilities as the Shiromani Bhuyan. He came to be known as theDekagiriamong his subjects and admirers. As Alipukhuri had become crowded, he moved his household from Alipukhuri to Bordowa. He married his first wife Suryavati when he was in his early 20s and a daughter, Manu, was born in about three years, but his wife died about nine months later.

First pilgrimage

It is possible that the death of his wife increased his already existing spiritual inclination and he left for a twelve-year-long pilgrimage, sometime after his daughter was married to Hari, a Bhuyan scion. He handed over the maintenance of his household to his son-in-law Hari; the Bhuyan Shiromaniship to his grand uncles Jayanta and Madhav; and began his journey in 1481. He was accompanied by seventeen others including his friend and associate Ramaram and his teacher Mahendra Kandali.At this point of time, he was 32. The pilgrimage took him toPuri,Mathura,Dwaraka,Vrindavan,Gaya,Rameswaram,Ayodhya,Sitakundaand almost all the other major seats of the Vaishnavite religion in India. He seem to have spent many years at Jagannath-kshetra at Puri, where he read and explained the Brahma Purana to the priests and lay people.At Badrikashram in 1488, he composed his firstborgeet—mana meri ram charanahi lagu—inBrajavali.According to Katha Gurucharit, the first Borgeet was "Rama meri hridaya pankaje baise" and he composed it in 1481 at the very outset of the pilgrimage at a place called Rowmari.He returned home to Alipukhuri after 12 years (his family had moved back from Bordowa in his absence). During his pilgrimage, he became the part of a pan-Indian Bhakti movement and helped it blossom.

Shiromanishiprefusal

On his return from his pilgrimage (c1493), Sankardev refused to take back the Shiromaniship, though on the insistence of his elders, he took responsibility of a hundred families (gomastha) but he soon handed over the responsibility to his son-in-law Hari. On his grandmother's insistence, he married Kalindi at the age of 54. Finally, he moved back to Bordowa and constructed a temple (devagriha) in c1498,possibly a thatched house, built on the original site of his father's house where he could meet with people, discuss religious matters and hold prayers, and preach. He wroteBhakti pradipaandRukmini harana.Soon after, he received a copy of theBhagavata Puranafrom Jagadisa Mishra ofMithila,with Sridhara Swami'smonisticcommentary "Bhavartha-dipika". Mishra recited and explained the entire Bhagavata in the presence of Sankardev and this event is considered critical in the development of Ekasarana.Datyari, an early biographer of Sankardev writes: Sankardev listened with rapt attention to the exposition by Jagadish Mishra and realised that theBhagavatawas a scripture without parallel, a scripture that determined Krishna as the only God,naamas the real dharma, andaikantika-saranaandsat-sangaas the indispensable elements of the faith. "He also began composing theKirtana ghosha.

Cihna-yatra

Xutradhar in Assamese Bhaona

After his exposure to the detailed Bhagavata Purana and Sridhara Swami's commentaryBhavartha-dipika,Sankardev produced a dance-drama calledCihna yatra,for which he painted theSapta vaikuntha(seven heavens), guided the making of musical instruments and played the instruments himself.According to other biographers, Sankardev producedMaha-natain the presence of Jagdish Mishra in the temple he had constructed at Alipukhuri.

According to Neog, this was the point when Sankardev decided to preach a new religion. Some of the first to be initiated into this religion was the wife of Jayanta-dalai, a leper named Hariram (later Tulasiram), Ramaram his associate and Mahendra Kandali, histolteacher.The 13 years at Alipukhuri was the period during which he reflected on Vaishnavism and on the form that would suit the spiritual and ethical needs of the people. Ananta Kandali, a profound scholar of Sanskrit, became his disciple during this time; he translated the later part of Canto X of the Bhagavata Purana after consulting Sankardev.

From Alipukhuri Sankardev moved back to Bordowa in 1509 and built athaan.Some authors claim that thisthanhad all the major features of a sattra (centralkirtanghar,cari-hatietc.),whereas many others assert that these features did not exist during Sankardev's time.Thisthanwas abandoned and more than a hundred years later in the middle of the 17th-century, Sankardev's granddaughter-in-law, Kanaklata, established it again.

Literary works in the Baro-Bhuyan territories

1. Non-Bhagavatagroup
   • Harishcandra-Upakhyana
   • Bhakti-pradip
   • Kirtan-ghosa(Uresa-varnana)
2. Non-Bhagavatamixed withBhagavataelements, not influenced by Sridhara Swami
   • Rukmini-harana-kavya
3. Lyrics
   • Borgeet
4. Bhagavatatales, not from Book X
   • Ajamilopakhyan(Book VI)
   • Amrta-manthan(Book VIII)
   • Kirtan-ghosa(Ajamilopakhyan,Prahlada-caritra,Harmohana,
   • Sections ii–vi

Ahom kingdom

Gangmau

Biswa Singha,began his activities to remove the Bhuyans from power in the western part of the Brahmaputra valley in 1509. Furthermore, the Bhuyans in the Bordowa area picked up a quarrel with theirKacharineighbours, and when attacked Sankardev advised the Bhuyans to move, which brought to an end the independence of this group of Bhuyans.Sankardev and his associates first crossed the Brahmaputra river in 1516–17 and settled first at Singari and finally at Routa; and when Viswa Singha advanced towards Routa, Sankardev moved to Gangmau in theAhom kingdomin 1527.At Gangmau they stayed for five years where Sankardev's eldest son Ramananda was born. At Gangmau, he wrote the dramaPatniprasad.In fact he lived alone at a place named Gajalasuti out of dissatisfaction with some relative. He penned the play there.

Dhuwahat

While at Gangmau, theKochkingBiswa Singhaattacked theAhoms.The Bhuyans fought for the Ahoms and the Koch king was defeated. Due to the unsettled situation at Gangmau Sankardev next moved to Dhuwahat, near Ahatguri in present-dayMajuli,washed away by the Brahmaputra in 1913. The Bhuyans were settled here by the Ahoms with land and estate,Hari, Sankardev's son-in-law became aSaikia,and his cousin Jagatananda, grandson of Jayanta received a title 'Ramarai'.At Dhuwahat, he met his spiritual successor Madhavdev.Madhavdev,a sakta, got into a religious altercation with his brother-in-law Ramadas who had recently converted to Vaishnavism. Ramadas took him to Sankardev, who, after a long debate, convinced him of the power and the efficacy ofEkasarana.The acquisition of Madhavdev, with his talent in poetry, singing and dedication to his new-found religion and guru, was a significant event in theEkasaranahistory. At Dhuwahat he managed to attract a wider attention and popularity and he initiated many others into his religion.

The popularity of Ekasarana and the conversion of people alarmed the priestly Brahmins,who reacted with anger and hostility. Sankardev tried to diffuse their hostility—by meeting with them at the house of his relative Budha-Khanand asking his Brahmin antagonists to install a wooden idol of Jagannath, called Madan-Mohan, at his religious seat. (Sankardev left this idol hanging on a tree when he took flight from Dhuwahat, and it was rescued years later by Vamshigopaldev and installed at Deberapar-sattra).The Brahmins finally complained to the Ahom king,Suhungmung(1497–1539), who summoned Sankardev to his court for a debate with them. Sankardev was able to convince the king that he was not a religious rebel and a threat to the social order, and the charges against him were dropped.The hostility, nevertheless, continued.

Flight from Dhuwahat

Though the positions of the Bhuyans in the Ahom kingdom began comfortably—with Sankardev's son-in-law, Hari, becoming aPaikofficer and Ramrai, his cousin, becoming a royal official—the relationship gradually deteriorated. After the death of Viswasingha, who was inimical to the Bhuyans, and the rise of Naranarayan (1540), the Koch-Bhuyan relationship improved somewhat.Sometime in the 1540s during the reign ofSuklenmung(1539–1552) a royal officer visited the region for an elephant capturing expedition. Hari did not make himself available and furthermore, an elephant escaped through a barrier managed by the Bhuyans. The officer took grave offence in this dereliction of duty and arrested Hari as well as Madhavdev. AtGarhgaon,Hari was executed and Madhavdev interned for about a year.According to Daityari, taking advantage of the Koch advance against the Ahoms (1546–1547), Sankardev and his followers escaped from the Ahom kingdom as they fell behind the vanguard of the Koch army setting up their garrison inNarayanpurfurther to the east.

Literary works in the Ahom kingdom

1. Arguments against those antagonistic tobhakti
   • Kirtan-ghosa(Pasanda-mardana,Namaparadha)
   • (Vipra)-patni-prasad(Ankia Naat)
2. Tales from Krishna's early life
   • Kirtan-ghosa(sisu-lila,rasa-krida,kamsavadha,gopi-uddhava-samvada,kujir vancha-purana,akrurar vancha-purana)
3. Borgeets

Koch kingdom

Sunpora

Sankardev and his followers reached Kapalabari in Koch kingdom in later part of 1540 and put up there. But the water was very alkaline there. Several members including Madhavdev's mother Manorama died there. So after staying for some time at Kapalabari, Sankardev and his group moved to Sunpora in 1541.At Sunpora Sankardev initiated Bhavananda, a rich trader who had extensive business interest in theGaro Hillsand Bhutan Hills besides Kamarupa. The trader, Narayana Das, settled at Janiya nearBarpetaand took to agriculture. A man of the world otherwise, he soon flourished and became a provider to Sankardev and his devotees. He came to be known popularly as Thakur Ata.

Patbausi

After moving around, Sankardev settled at Patbausi near Barpeta in theKoch Kingdomand constructed aKirtanghar(house of prayer). Some of the people he initiated here are Chakrapani Dwija and Sarvabhaum Bhattacharya, Brahmins; Govinda, aGaro;Jayaram, aBhutia;Madhai, aJaintia;Jatiram, an ascetic; and Murari, aKoch.Damodardev,a Brahmin, was initiated by Sankardev. Damodardev was entrusted by Sankardev to initiate Brahmin disciples. A Sattra was also constructed for him at Patbausi itself. Later Damodardev became the founder of the Brahma Sanghati sect of Sankardev's religion.

Among Sankardev's literary works, he completed his rendering of the Bhagavata Purana and wrote other independent works. He continued composing the Kirtan Ghosha, further translated the first canto of theRamayana(Adi Kanda) and instructed Madhavdev to translate the last canto (Uttara Kanda), portions that were left undone by the 14th century poetMadhav Kandali.He wrote four plays:Rukmini harana,Parijata harana,KeligopalaandKalidamana.Another play written at Patbausi,Kansa Vadha,is lost. At Patbausi, he had lent his Bargeets numbering around 240 to Kamala Gayan. But unfortunately, Gayan's house was gutted and most of theborgeetswere lost. Since that incident Sankardev stopped composingBargeets.Of the 240, 34 remain today.

Second Pilgrimage

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

Koch capital and Bheladanga

On receiving repeated complaints that Sankardev was corrupting the minds of the people by spreading a new religionNara Narayan,the Koch king, ordered Sankardev's arrest, and Sankardev went into hiding.Chilarai—the general of the Koch army, half-brother of the king and married to Kamalapriya the daughter of Sankardev's cousin Ramarai—then convinced the king to give Sankardev a hearing instead.

For the audience with Nara Narayan, as he moved up the steps to the court, Sankardev sang his Sanskrittotakahymn, composed extempore, to Lord Krishnamadhu daanava daarana deva varam and as he sat down, he sang aborgeet,narayana kahe bhakati karu tera,playing on the name of the king. At the debate with the court pundits that followed, Sankardev was able to refute all allegations against him. The king declared him free and furthermore honored him with a seat close to the throne. Sankardev began to attend Naranarayana's court regularly, and received the freedom to propagate his teachings.

Chilarai was instrumental in keeping Sankardev safe and supporting his work. Many of Sankardev's literary and dramatic works were completed in his domain with his patronage and protection. Sankardev acknowledged his appreciation in his play 'Ram Vijaya'.

Sankardev shuttled betweenKoch Beharthe capital and Patbausi his seat. He was often hosted by Chilarai, and on his request agreed to have the images of the childhood days of krishna at Vrindavan woven on cloth. He engaged the weavers of Tantikuchi, near Barpeta, to weave a forty-yard long tapestry panel. Sankaradeva provided the designs to be woven, chose the various colours of thread to be used, and supervised the weaving. It took about a year to complete and, deriving its name from its theme, came to be known as theVrindavani vastra.It was presented toChilaraiand Naranarayan. A section of this cloth is preserved now in theVictoria and Albert museuminLondon.

Chandsai, a Muslim tailor serving the Koch king became a disciple of Sankardev at Kochbehar. When Sankardev returned to Patbausi some time later, Chandsai too came with the saint. Sankardev frequented the capital for more than 20 years and enjoyed unstinted royal patronage for the first time.

End

He made arrangements with Madhavdev 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, Maharaja Naranarayana expressed his wish to be initiated. Sankardev was reluctant to convert a king and declined to do so. (According to one of the biographers Ramcharan Thakur) A painfulboil;avisha phohara– had appeared in some part of his body and this led to the passing away of the Saint. Thus, in 1568, after leading a most eventful life dedicated to enlightening humanity; theMahapurushabreathed his last – after four months of his last stay at Bheladonga– aged 120.

Literary works in the Koch kingdom

1. Bhagavatatales, not from Book X
   • Bali-chalana(Book VIII)
   • Anadi-patana(Book III,Vamana-purana)
2. Bhagavatatales from Books X, XI, XIII
   • Kirtan-ghosa(Jarasandha yudha,Kalayavana badha,Mucukunda-stuti,Syamanta-haran,Naradar-krishna-darsan,Vipra-putra-anayana,Daivakir-putra-anayana,Veda-stuti,Lilamala,Rukminir-prem-kalah,Bhrigu-pariksha,srikrishnar-vaikuntha-prayana,Chaturvimsati-avatar-varnana,Tatparya)
3. Gunamala
   • Section i
4. Renderings of Bhagavata Purana
   • Bhagavata X (Adi)
   • Bhagavata XI (with material from Books I and III)
   • Bhagavata XII
   • Bhagavata I
   • Bhagavata II
   • Bhagavata IX (lost)
   • Kurukshetra(Book X, Uttarardha)
   • Nimi-nava-siddha-samvada
5. From Ramayana
   • Ramayana,Uttara-kanda
6. Lyrics
   • Borgeets
   • Totaya
   • Bhatima
7. Doctrinal treatise
   • Bhakti-ratnakar
8. Drama (Ankia Naat)
   • Kali-daman
   • Keli-gopal
   • Rukmini-haran
   • Parijat-haran
   • Ram-vijay
9. Visual Art
   • Vrindavani vastra– parts of this work are preserved in London.

Timeline

↓Birth

↓Parents die

↓Weds Suryavati

↓Manu born

↓Manu weds Hari

↓Weds Kalindi

↓InitiatesMadhabdev

↓Hari executed

↓2nd pilgrimage

↓Bheladonga

↓

Alipukhuri

Borduwa

Pilgrimage

Alipukhuri

Borduwa

Gangmau

Dhuwahat

Patbausi

Kusumvara

Jayanta/Madhava

Sankardev

Jayanta/Madhava

Susenphaa

Suhungmung

Suklenmung

Sukhaamphaa

Niladhwaj

Chakradhwaj

Nilambar

Viswa Singha

Naranarayan

↓Kabirborn

↓Guru Nanakborn

↓Martin Lutherborn

↓Chaitanyaborn

↓Meera Baiborn

↓Tulsidasborn

↓Chaitainya Mahaprabhu died

│

1440

│

1468

│

1496

│

1524

│

1552

│

1580

Ekasarana

Main article:Ekasarana Dharma

Sankardev preached devotion (bhakti) to Krishna consisting primarily in the singing (kirtan) and listening to (sravan) of his deeds and activities.Ekasaranafollows thedasyaattitude (bhava) of worship in which the devotee considers himself to be a servant of God. In contrast to other Vaishnava schools,Radhais not worshiped along with Krishna.

The people who practice his religion are referred to variously asMahapurushia,SaraniaandSankari.

Srimanta Sankardev started a system of initiation (Sarana) into his religion. He caused a social revolution by fighting against the caste discrimination prevailing at that time. He initiated people of allcastesand religions, including Muslims. After initiation, the devotee is expected to adhere to the religious tenets ofEkasaranaconsisting in worship to one God, Krishna, and offering devotion to him, forsaking all forms of Vedic rites.

Though he himself married twice, had children and led the life of a householder, his discipleMadhavdevdid not. Some of his followers today follow celibate life (kevaliya bhakat) in the Vaishnavite monasteries – thesattras.

Sankardev's famous debate with Madhavdev, who was a staunch sakta (devotee of Shakti) earlier, and Madhavdev's subsequent induction into Ekasarana, is often cited as the single most epoch-making event in the history of the neo-Vaishnavite movement in Assam. Madhavdev, an equally multi-talented person, became his celebrated disciple.

Literary works

Sankardev 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 theRamayanaintoAssamesein the 14th century – This was the first ramayana to be written in a modern Indian language –Harihara VipraandHema Saraswati,it was Sankardev who opened the floodgates and inspired others like Madhavdev to carry on where he left off.

His language is lucid, his verses lilting, and he infusedbhaktiinto everything he wrote. His magnum opus is hisKirtana-ghosha,a work so popular that even today it is found in many household in Assam. It contains narrative verses glorifying Krishna meant for community singing. It is abhakti kayvapar 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 theAssamese languageof the period so the lay person could read and understand them. But for dramatic effect in his songs and dramas he usedBrajavali.

Other literary works include the rendering of eight books of theBhagavata Puranaincluding theAdi Dasama(Book X),Harishchandra-upakhyana(his first work),Bhakti-pradip,theNimi-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),Gunamalaand many plays likeRukmini haran,Patni prasad,Keli gopal,Kurukshetra yatraandSrirama vijaya.There was thus a flowering of Bhakti literature during his long life of 120 years.

Poetic works (kavya)

• Kirtana-ghosha
• Harischandra-upakhyana
• Rukmini-harana
• Parijat-haran
• Kaliya-daman
• Ram-vijay
• Ajamilopakhyana
• Bali-chalana
• Kurukshetra-yatra
• Gopi-uddhava-samvada
• Amrita-manthana
• Krishna-prayana-pandava-niryana
• Kamajaya

Bhakti Theory

• Bhakati-pradipa
• Anadi-patana
• Nimi-navasiddha-samvada
• Bhakti Ratnakara(in Sanskrit)
• Gunamala

Transliteration

• Bhagavata(Book VI, VIII, I, II, VII, X, XI, XII, IX, X(partial, XI(partial) & XII)
• Ramayana(Uttarakanda,supplemental toMadhav Kandali'sSaptakanda Ramayana)

His translation of theBhagavatais 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 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 caste ofsudraandkaivartas,and extols them elsewhere.

Drama (Ankia Nat)

• Cihna Yatra(lost)
• Patni-prasada
• Janma-jatra(lost)
• Kangsa-badha(lost)
• Parijata-harana
• Kali-damana
• Rukmini-harana
• Keli-gopala
• Srirama-vijaya

Vrindavani vastra(fragment), circa 1570, atLACMA

Sankardev was the fountainhead of theAnkiya naat,a form of one-act play. HisCihna Yatrais regarded as one of the first open-air theatrical performances in the world.Cihna yatrawas probably a dance drama and no text of that show is available today. Innovations like the presence of aSutradhara(narrator) on the stage, use of masks etc., were used later in the plays ofBertolt Brechtand other eminent playwrights.

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

Songs

• Borgeet(composed 240, but only 34 exist now)
• Bhatima
  • Deva bhatima– panegyrics to God
  • Naat bhatima– for use in dramas
  • Raja bhatima– panegyrics to kingNara Narayan

He is a musician; All his creations were orienting to the Vishanav religion and one set of them is called 'Holy Songs', which are known as 'Borgeet(Bargit or Bargeet)' till today in Assam.

TheBorgeets(literally: great songs) are devotional songs, set to music and sung in variousragastyles. These styles are slightly different from either theHindustanior theCarnaticstyles.The songs themselves are written in the 'Brajavali' language.

Dance

Sattriya dance,that Sankardev first conceived and developed and which was later preserved for centuries by thesattras,is now among theclassical dance forms of India.Although certain devout Sankarite calls this form asSankari dance

Visual Art

• Sapta vaikuntha– part of theCihna yatraproduction, does not exist today.
• Vrindavani vastra– parts of this work are preserved in London.

The famousVrindavani Vastra—the cloth of Vrindavan—a 120 x 60cubitstapestry depicted thelilasof Lord KrishnaatVrindavanthrough richly woven and embroidered designs on silk.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). Thevastra,commissioned by Koch king Naranarayana, was woven by 12 master weavers inBarpetaunder the supervision of Sankardev over a period of six-month and completed towards the end of 1554.This textile art depicted the life and deeds of lord Krishna, who is worshipped in Eka Sarana Nama Dharma. The cloth was housed in the royal court of Kochbehar after the saint presented it to the king; but it disappeared at some point. It is believed that parts of this cloth made its way toTibetand from there to its present place.

See also

• Sattra
• Borgeet
• Madhavdev
• Dihanaam
• Ankia Naat
• Vrindavani vastra

References

• Barman, Sivnath (1999),"Introduction",An Unsung Colossus: An Introduction to the Life and Works of Sankardev,Guwahati:Forum for Sankaradeva Studies/North Eastern Hill UniversityInstitutional Repository
• Bhuyan, Abhijit (15 May 2008),"Sankardev and Neo-Vaishnavism in Assam",Ishani,II(3), archived fromthe originalon 26 July 2011,retrieved14 August2009
• Borkakoti, Sanjib Kumar (2007),Purnanga Katha Gurucharita,Guwahati: Bani Mandir
• Borkakoti, Sanjib Kumar (2006),Unique Contributions of Srimanta Sankaradeva in Religion and Culture,Nagaon:Srimanta Sankaradeva Sangha
• Vaishnav Santa Srimanta Sankaradeva – translation: Rajibaksha Rakshit. Kaziranga. The only Bengali book available in market on Sankaradeva
• Crill, Rosemary (1992), "Vrindavani Vastra: Figured Silks from Assam",Hali,14(2): 76–83
• Neog, Maheswar(1980).Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times.Delhi:Motilal Banarsidass.
• Sarma, S N (1966).The Neo-Vaishnavite Movement and the Satra Institution of Assam.Gauhati University.
• Sarma, Anjali (1990).Among the Luminaries in Assam: A Study of Assamese Biography.Mittal Publications.

Further reading

• University of Gauhati (1953).Dr. B. Kakati Commemoration Volume.Retrieved30 May2013.
• K.M. George (1 January 1994).Modern Indian Literature: An Anthology. Plays and prose.Sahitya Akademi. pp. 38–.ISBN978-81-7201-783-5.Retrieved30 May2013.
• Sanjoy Hazarika (1995).Strangers in the Mist.Penguin Books India. pp. 43–.ISBN978-0-14-024052-8.Retrieved30 May2013.
• Indian Philosophy & Culture.1965.Retrieved30 May2013.
• Jyoti Prasad Rajkhowa (2003).Sankaradeva, His Life, Preachings, and Practices: A Historical Biography.ISBN9350674254.

External links

• Works by or about Sankardevat theInternet Archive
• atributetosankaradeva.org– The Religion, philosophy, Literature, Art, Culture (and more) of Mahapurusha Srimanta Sankardev
• The Sattras of AssamArchived24 January 2010 at theWayback Machine– By BK Barua and HV Sreenivasa Murthy, pages from hindubooks.org