Sri Sri Auniati Satra | |
---|---|
Religion | |
Affiliation | Hinduism |
District | Majuli |
Deity | Sri Sri Gobindo Mohaprobhu |
Festivals | Raasleela, Paal Naam |
Location | |
State | Assam |
Country | India |
Geographic coordinates | 26°56′25″N94°07′26″E / 26.9402°N 94.1238°E |
Architecture | |
Type | Assamese |
Creator | Sri Sri Niranjana Deva Goswami (first satradhikar), Swargadeo Jayadhwaj Singha (patron king) |
Completed | 1653 CE |
Inscriptions | Assamese, Brajavali |
Sri Sri Auniati Satra is a satra or monastery located in the Majuli river island in Assam, India, that adheres to the Brahma Sanghati of the Ekasarana Dharma, a socio-religious and cultural movement initiated by Srimanta Sankaradeva, who was born in 1449 CE. It is one of the four "raj satras" or royal satras associated with the Ahom dynasty. It is the first satra patronised by the kingdom. It is usually believed that this satra was established in the year 1653 CE, with the initiative of Ahom king Jayadhwaj Singha, the first head monk or satradhikar being Sri Sri Niranjana Deva Goswami, even though different opinions exist.
The monks of the satra are udaseen Vaishnavas, meaning, they are celibate and avoid every worldly affair to focus entirely on Krishna, who is the supreme deity in Ekasarana Dharma and considered to be Param Brahma, the ultimate reality. Out of the sari bostu, or the four objects of prime importance in Ekasarana, namely Deva, Naam, Guru and Bhokot, Deva is given the most importance. Krishna is worshipped as Gobindo Mohaprobhu in this satra. Monks are trained in the thoughts of Sankaradeva and other preceptors, as well as Satriya life, theatrical performance called bhaonas, playing instruments like khol and taal and Sattriya dance. Many festivals, like Paal Naam, Ras Lila, Janmashtami, tithis of Sankaradeva and Madhavadeva, Bihu etc. are celebrated in this satra.
The name "auniati" is traditionally believed to have come from the words "auni", which is a variety of betel and "ati", which means a place with high altitude. [1] It was built at an elevated place where the auni variety of betel used to grow, giving the satra its name. Kavichandra Dvij, in his "Keshava Charita Pada", writes: [2]
"Aunipan ek brikhyot asil
Tar xomipot zotu xotro xazisil
Etekexe auni asi nam xotro kohe
Dokhyine Dihing nodi mohabege bohe"
(There was an auni betel tree
Near that a satra was built
Therefore, it is named Auni Asi Satra
In its south, the river Dihing flows fast)
The exact year in which the satra was established is a matter of debate. The most commonly accepted theory places the origin of the satra in 1653 CE. [3] This was the time when the area was under Ahom rule, with Sutamla as the king. The establishment of the satra was a part of his bid to provide patronage to the Hindu faith, whereby he asked the pathak of the Kurubahi Satra to set this new satra up. After the establishment of the satra, he adopted the Vaishnava faith and received the name Jayadhwaja Singha from the first satradikar of the Auniati Satra. [4] However, other historians believe that the satra was actually established at the behest of Sutamla's predecessor king Sutingpha in the year 1644 CE. [3] [5] Yet another opinion is that Jayadhwaj Singha got it established as a "raj satra" in 1656, donating land and paiks or labour. The Satsari Assam Buronji states that the foundational pillar of the home of the Gosain was laid in 1656 CE. [6] Auniati was the first satra to be patronised by the Ahom kingdom. [7]
The Sri Sri Auniati Satra is associated with the Brahma Sanghati, one of the four orders of Ekasarana satras. It is the most tolerant of Brahminical practices out of the four, and has historically been headed by Brahmin monks. This sanghati has historically maintained ties with the Koch and Ahom monarchy. The founder of this sanghati, Sri Sri Damodaradeva, had initiated Koch king Naranarayana into the Ekasarana fold. [8] On the other hand, the first satradhikar of the Auniati Satra, Sri Sri Niranjana Deva Goswami had initiated the Ahom king Jayadhwaj Singha into the Vaishnava fold, [4] effectively Sanskritising the dynasty. While the Ahoms, who migrated from southeastern China in the 1200s had their own religion, they began adopting Hindu ways since the time of Suhungmung, particularly Brahminical Shakta ways, often persecuting Ekasarana monks. Despite this, the Ahom dynasty's formal adoption of Hinduism only took place with Jayadhwaja Singha's initiation into the Vaishnava fold under the Sri Sri Auniati Satra. [7] The Auniati Satra became one of the four "raj satras" or royal satras, [3] [8] the others being Dakhinpat, Garamur and Kuruwabahi. The Ahom kings considered Auniati to be of the highest position among the various satras. [1] After the initiation of Jayadhwaja Singha, the Ahom kings largely spared the Vaishnavas of the Brahma Sanghati from persecution, but continued to persecute the monks of the satras of the other sanghatis (except during the rule of Gadadhara Singha, where even the satras of the Brahma Sanghati faced persecution).
The relationship between satras of the Brahma sanghati and others has been complex historically. During the reign of Jayadhwaj Singha, the abbot of the Mayamara Satra, one of the primary satras of the Kal Sanghati, had to go into hiding in fear of persecution by the king. It was at the instance of the Auniati abbot that he was brought back. [9] During the reign of Gadadhara Sungha's son, Rudra Singha, satras of the Brahma Sanghati were patronised (Rudra Singha even accepted initiation under the Auniati satradhikar Sri Sri Harideva Goswami), [5] while restrictions were placed on other satras. Non-Brahmin satradhikars were barred from initiating Brahmin disciples by the king. [10] This was done in a meeting where both Brahmin and non-Brahmin mahantas were present, and allegedly, the Brahmin Mahantas sided with the king, infuriating the non-Brahmin Mahantas. [7] During the reign of his son Siva Singha, the stature of Shaktism rose even more. Following astrological advice, Siva Singha offered his throne to his three queens, Phuleswari Devi, Ambika Devi and Sarveswari Devi, with Phuleswari being the chief queen. Phuleswari Devi was a staunch Shakta and tried to make Shaktism the state religion. Once, she invited the adhikars of the major satras to a Durga Puja function and after the event, made the mahantas and gosains of other sanghatis bow their heads before the satradhikars of the Sri Sri Auniati and the Sri Sri Garamura Satra, further infuriating them. [7] [11] During the Moamaria rebellion against the Ahom monarchy, which took place from 1786 to 1789, the rebels who were associated with the Kal Sanghati burned the royalist satras, including the Auniati Satra. [12]
The first head monk or satradhikar of this satra was Niranjanadeva Goswami and the current one is Pitambaradeva Goswami. The following is the list of the satradhikars of Auniati Satra: [13] [14]
Being a part of the Ekasarana Dharma, Krishna is worshipped as the supreme deity. Adhering to the Brahma Sanghati, the worship of idols is allowed in this satra, unlike some other sanghatis. The primary deity is worshipped as Sri Sri Gobindo Mohaprobhu, and his idol was brought in from Jagannath Puri in what is now the Indian state of Odisha. [1] In addition, other idols of Krishna are also worshipped, namely, Bansigopala, Madana Mohana and Bhuvana Mohana, who are all worshipped together with Gobindo Mohaprobhu. [15] During the time of Raslila, Sri Sri Gobindo Mohaprobhu is placed in a throne and worshipped.
The overall responsibility of overseeing all the activities of the Satra, like in other satras, rests on the head monk, or the Satradhikar. [16] Following the satradhikar, the next highest position is held by the Deka Adhikar. Auniati monks are kewoliya, which means they are celibate. They are udaseenVaishnavas (literally, indifferent), meaning they leave every worldly thought and focus entirely on Krishna. [1] Many join the satra as monks at very young ages. The satra arranges for both their formal (secular) education and training on the thoughts of Sankaradeva, Sattriya or monastic culture and the rules of monkhood. [17] Young monks leave ties with their families, reside in the satra premises and partake in its activities. They are taught the art of Gayan Bayan, which is singing (particularly the works of preceptors such as the borgeets) and playing instruments such as the khol and taal. The style of dance developed in the satras, called Sattriya, is recognised as one of India's eight major classical dance forms by the Sangeet Natak Akademi, [18] the Government of India and other scholars of Indian culture. [19] Natua, Apsara, Sutradhar, Ozapali (Panchali and Dulari), Sali, Jumura, Krishna Gopi Nritya, Maati Akhara and Gayan-Bayan are some of the dances practiced in this satra. [4] In addition, theatrical performances called bhaonas are practiced and performed on various occasions.
The laity who wish to associate with the satra but are unable to adopt monkhood in its entirety are initiated into the fold via institutions called xoron and bhojon. [1] Xoron luwa (literally, taking shelter) is the ceremony whereby a member of the laity accepts the Satradhikar as guru, and vows to follow certain principles preached in the Ekasarana dharma, such as devotion to Krishna, forgoing the consumption of alcohol, treating guests at home well etc. Bhojon luwa is a more extensive version of it.
Several festivals are organised in the Satra, associated with the Ekasarana faith, such as the anniversaries of preceptors and various occasions marking events in the life of Krishna. A major festival associated with the Auniati Satra is the Pal Naam, which is celebrated every year in the Assamese month of Kati. [4] [20] A boat is placed at the centre and the naam or name of God is sung, symbolising that the name of God is the boat that would carry one from this world of maya to moksha . Other festivals celebrated include the tithis or anniversaries of the two principal preceptors of Ekasarana Dharma, Srimanta Sankaradeva and Sri Sri Madhavadeva; the Ras festival, celebrating Krishna's dance with the gopis of Braj; Janmashtami, celebrating the birth of Krishna; the three Bihus, marking different phases of agriculture in Assam etc. [20]
The monks of the Sri Sri Auniati Satra have been involved in numerous cultural and literary activities for centuries. The monks are routinely trained in theatre (bhaona), dance (Sattriya), singing (borgeet) and playing instruments (khol and taal). [4] [17] Sattriya is one of the eight major classical dance forms of India. The monks of the Sri Sri Auniati Satra are often invited as delegations for Sattriya performances at various places, including the Indian Republic Day celebrations in New Delhi; in the presence of the President of India at the Rashtrapati Bhawan and other cultural institutions such as the National Museum in Delhi and various places in India and abroad. [1]
The monks of the Sri Sri Auniati Satra have over hundreds of years, engaged in the writing of several manuscripts and books. Several of these are works of play, such as [21] Godaporbo, Bhismoporbo, Bhorotagomon etc. by Sri Sri Dattadeva Goswami, Prahlad Soritro, Birat Porbo etc. by Kamalachandradeva Goswami, Tripur Toron by Lilakantadeva Goswami, Dondi Porbo, Droupodir Xomonwoy, Sri Krisnor Jonmolila, Jonmastomi etc. by Sri Sri Hemachandradeva Goswami, Jotanol Gitabhinoy, Dut Krisno, Bolisolon, Mohix Mukti etc. by Vishnuchandradeva Goswami etc.
Charita Puthis are a distinctive genre of Ekasarana literature, where hagiograpphies of the faith's gurus are written. Among the Charit Puthis, the charitas of Sri Sri Damodaradeva, Sri Sri Vansigopala Deva and Sri Sri Harideva were composed in the Sri Sri Auniati Satra itself. [21]
In the nineteenth and twentieth centuries, the Sri Sri Auniati Satra played an important role in the development of modern Assamese literature. The first Assamese newspaper was published by Baptist missionaries, by the name of Orunodoi , in 1846. Soon after that, in the year 1871, the Sri Sri Auniati Satra began the publication of the second oldest newspaper in the Assamese language, Asam Bilasini. [22] The Auniati satradhikar Sri Sri Dattadeva Goswami personally oversaw the procurement and use of the "Dharmaprakasha Yantra", a modern printing press, for the purpose. [21] Some other periodicals published by the Sri Sri Auniati Satra include Assam Dipika (1976), Assam Tora (1989) etc. Currently, Sanskriti Biplav is in publication.
The Sri Sri Auniati Satra is one of the raj satras or royal satras of the Ahom kingdom. The Ahom kingdom was established in upper Assam after a Tai prince from Mong Mao (present day southeastern China), Chao Lung Sukaphaa, migrated to Assam in 1228. While it remained relatively small for centuries, it suddenly expanded under the rule of king Suhungmung and went on to become the most influential power in the northeast of India. As a result of the expansion, by 1536, the Hindu subjects greatly outnumbered the Ahoms in the kingdom. To gain legitimacy in the Hindu society, the Ahom dynasty underwent Sanskritisation, with Suhungmung adopting the Sanskrit name Swarganarayana.
However, the formal initiation of the Ahom dynasty into Hinduism did not take place till 1648, when Sutamla became the king. [23] Sutamla established the Sri Sri Auniati Satra and took formal initiation under its first Satradhikar Sri Sri Niranjana Deva Goswami, effectively Sanskritising the dynasty. This was a major event in the history of Assam. Sutamla adopted the name Jayadhwaj Singha following this. Following this, the Ahom state was largely lenient towards the satras of the Brahma Sanghati, while continuing the persecution of the satras of other sanghatis. Rudra Singha even provided the position of raj satra to Auniati, Dakhinpat, Garamur and Kuruwabahi and received initiation from the satradhikar of the Sri Sri Auniati Satra, Sri Sri Harideva Goswami, who was the most prominent of the Brahmin satradhikars of the time. [24] Despite this, the relationship was not always cordial. For example, during the reign of Gadadhara Singha, even satras of the Brahma Sanghati faced persecution. Even at other times, the Ahom kings kept patronising Shaktism in opposition to Vaishnavism. [25] [26]
The satra premises conserve manuscripts and artefacts dating back hundreds of years. These have either been created in the satra itself or gifted by disciples to the satra over the span of several centuries. Almost 150 manuscripts are preserved in the satra's premises, some of which include ankia nats of Srimanta Sankaradeva and Sri Sri Madhavadeva in Brajavali, Adbhut Ramayana by Raghunath Mahanta in old Assamese, Anadi Patan by Sankaradeva in old Assamese, Amara Koshha by Amar Singha in Sanskrit etc. [27]
Several of the artefacts are those gifted by Ahom kings after taking xoron in the satra. A mat of ivory tusks, an inscription with the Srihasta Muktavali translated by Suchananda Oja etc. were gifted by Rudra Singha. He also gifted the plates used by his father Gadadhara Singha to the satra. Gajendra Chintamani, detailing how elephants are caught and tamed, illustrated by Mughal painters Dilbar and Dosai, was gifted by Siva Singha. A musical instrument named Bheri was gifted by Rajeswara Singha. He also gifted a bortaal, a musical instrument weighing 7.5 kilograms. The hendang or sword of Lachit Barphukan is also stored in the satra's museum. The satra has also received gifts from other royalties. The king of Burma Bodofa had gifted Maan Xofura to the then satradhikar Sri Sri Kusharamadeva Goswami, asking his forgiveness, as he was retreating to Burma after the invasion of Assam. Apart from royal gifts, many of the artefacts also include artistic creations by monks themselves. For example, the Rangoli Xorai, Onaroxi Lota etc. Some gifts from disciples include a Naga spear by Naga disciples and Khamti da from Khamti disciples. [28]
Sattriya, or Sattriya Nritya, is a major Indian classical dance. This dance was initially created as part of Bhaona which are performances of Ankiya Nat, one-act plays, originally created by Sankardev, the 15th-16th century polymath from Assam. These dances are part of the living traditions today of Sattras, which are communities of live-in devotees belonging to the Ekasarana dharma, the religion established by Sankardev.
Srimanta Sankardev was a 15th–16th century Assamese polymath; a saint-scholar, poet, playwright, dancer, actor, musician, artist social-religious reformer and a figure of importance in the cultural and religious history of Assam, India. He is widely credited with building on past cultural relics and devising new forms of music (Borgeet), theatrical performance, dance (Sattriya), literary language (Brajavali). Besides, he has left an extensive literary oeuvre of trans-created scriptures, poetry and theological works written in Sanskrit, Assamese and Brajavali. The Bhagavatic religious movement he started, Ekasarana Dharma and also called Neo-Vaishnavite movement, influenced two medieval kingdoms – Koch and the Ahom kingdom – and the assembly of devotees he initiated evolved over time into monastic centers called Sattras, which continue to be important socio-religious institutions in Assam and to a lesser extent in North Bengal. Sankardev inspired the Bhakti movement in Assam just as Guru Nanak, Ramananda, Namdev, Kabir, Basava and Chaitanya Mahaprabhu inspired it elsewhere in the Indian subcontinent.
Mājuli or Majuli is a river island in the Brahmaputra River, Assam state, India. On September 8, 2016 an additional district was announced by Sarbananda Sonowal, it became the first island to be made a district in India. In the 1790s, the island covered an area of 1,300 km2 (500 sq mi). It had an area of 1,255 square kilometres (485 sq mi) at the beginning of the 20th century, but having lost significantly to erosion it covers 352 square kilometres (136 sq mi) as at 2014. Majuli has shrunk as the river surrounding it has grown.
The Ahom dynasty (1228–1826) ruled the Ahom Kingdom in present-day Assam, India for nearly 598 years. The dynasty was established by Sukaphaa, a Shan prince of Mong Mao who came to Assam after crossing the Patkai mountains. The rule of this dynasty ended with the Burmese invasion of Assam and the subsequent annexation by the British East India Company following the Treaty of Yandabo in 1826.
Ekasarana Dharma is a neo-Vaishnavite monolithic sect propagated by Srimanta Sankardeva in the 15th-16th century in the Indian state of Assam. It reduced focus on Vedic ritualism and focuses on devotion (bhakti) to Krishna in the form of congregational listening (shravan) and singing his name and deeds (kirtan).
Assamese literature is the entire corpus of poetry, novels, short stories, plays, documents and other writings in the Assamese language. It also includes the literary works in the older forms of the language during its evolution to the contemporary form and its cultural heritage and tradition. The literary heritage of the Assamese language can be traced back to the c. 9–10th century in the Charyapada, where the earliest elements of the language can be discerned.
Sukhrungphaa or Swargadeo Rudra Singha was the thirtieth Ahom king, who reigned from 1696 to 1714. His father Gadadhar Singha freed Assam from the Mughal disturbances and internal conspiracies, thereby Rudra Singha inherited a stable domain and government and had the advantage of the solid foundations laid by his father and devoted his time to transform Assam into a first-rate power in India. He stopped the persecution of the Neo-Vaisnava sect and built temples, several public works, and patronized art, literature, and culture. Rudra Singha is also famed for being the real father of Ahom architecture. He giving up the isolationist policy of his predecessors forged diplomatic ties with various states of that time and established extensive trade with Bengal.
Pitambar Deva Goswami was a spiritual leader and social reformer in the Indian state of Assam. At age six, he was accepted into the monastic order of the Garamur Satra. Goswami was schooled in Sanskrit by Nityanandadeva Bhagawati Vidyavagish in the satra. When he was 21, he was appointed Satradhikar of the Garamur Satra after the death of Jogachandra Deva Satradhikar Goswami..
Satras are institutional centers associated with the Ekasarana tradition of Vaishnavism, largely found in the Indian state of Assam and neighboring regions. Numbering in the hundreds, these centers are generally independent of each other and under the control of individual adhikaras, though they can be grouped into four different Sanghatis (orders).
Dakhinpat Satra, situated in the south-east corner of Majuli. It is one of Assam's most well-renowned and principle monastic Satra, established by Banamali Dev Goswami in 1654 under the patronization of Ahom King Jayadhwaj Singha. This Satra particularly belongs to Brahmasamhati sect, founded by Damodardev.
Sutamla (1648–1663) Jayadhwaj Singha was the 20th king of the Ahom kingdom. During his reign the Mughal viceroy at Bengal Mir Jumla II invaded and occupied his capital Garhgaon as a result of which he had to retreat to the Namrup area, and because of this flight he is also known as the Bhagania Roja in the Buranjis. In the days of Jayadhwaj Singha Auniati Satra and Dakhinpat Satra was established. He formally accepted the initiation of Niranjan Bapu and settled him as the as Satradhikar in the Auniati Satra. He even exempted disciples of satra from personal labour to the state.
Damodardev (1488–1598) was sixteenth century Ekasarana preceptor from Nalaca, Nagaon. Damodardev was a follower of Sankardeva's Ekasarana dharma order. He started his own order after the death of Sankardeva that came to be called the Brahmasamhati, which admitted Brahmanical rituals and greater adherence to the caste system alongside the namadharma of Sankardev. He was succeeded by Bhattadeva.
Basudev Than or Narua Satra is a satra located in Dhakuakhana, Lakhimpur, Assam. It was first established in the 14th century by the Chutia king Satyanarayan. Originally known as Laumura Satra, this satra is well known in Assam and other parts of India.
Madhupur Satra is a religious institutional center associated with the Ekasarana tradition of Vaishnavism, situated in Cooch Behar, the Indian state of West Bengal. It was established by Assamese Vaishnavite monasteries for religious practices in the mid 16th-century during Koch kingdom (1515–1949). The great Bhakti Saint Mahapurusha Srimanta Sankardeva (1449–1568) and his disciple Mahapurusha Madhavadeva died here. Madhupur satra is also called as Dahmukutor than; 'dahmukut' means 'bhiti' or living houses of ten disciples (bhaktas) of Srimanta Sankardeva. The name satra originates in the Bhagavata Purana in Sanskrit (sattra), and is used in the sense of an assembly of devotees.
The Moamoria were the adherents of the egalitarian, proselytizing Mayamara Satra of 18th-century Assam, who initiated the Moamoria rebellion against the Ahom kingdom in the 18th century. The rebellion weakened the Ahom kingdom to such an extent that the kingdom became vulnerable to repeated Burmese invasions of Assam and the subsequent colonization by the British. The Moamorias were also called Mataks. Over time, the main groups that had supported the Ahom kingdom came to owe allegiance to the Moamara sattra: Morans, the Sonowal Kacharis (gold-washers), Chutias, professional castes such as Hiras (potters), Tantis (weavers), Kaibartas, and Ahom nobles and officers. The largest group among the Mataks were the Morans, followed by the Chutias.
The Brittial Bania/Bania is an ethnic community in Assam, India. The group traces its roots to a merchant community who reached Assam in ancient times. Some historians claim that after the Austric group migrated to ancient Assam, the next group of people who arrived was the Dravidian group, who are represented by the Bania and Kaibbartas today. Unlike the mainland Baniya community, this community of Assam is recognized as Schedule Caste by the government of India.
Aniruddhadev (1553–1626) was a 16th-century Ekasarana preceptor from Assam. Born to a Bhuyan named Gondagiri, Aniruddhadev was a disciple of Gopal Ata and the founder of the Mayamara satra of the Kalasamhati, the followers of which revolted against Ahom kingdom. who priotized the Brahmasamhati.
Bordowa 'Batadrava' Than is a holy pilgrimage site in Nagaon, Assam. It is located in the birthplace of the great Assamese saint and social reformer Srimanta Sankardev. Sankardev at the age of 19, established the Bordowa Than in 1468, it is also the first Namghar or Than constructed. The rituals of this Than is conducted according to the norms of Purush sanghati. The pilgrimage site is located at Batadrava, about 16 km from Nagaon city and it covers an area of 16 bigha.
Painting of Assam, the art of manuscript painting in the Assam region developed through the movement of Vaishnavism. Vaishnava saints were primarily responsible for the establishment of manuscript painting tradition in Assam. A large number of manuscript paintings were done and copied during the 16th to 19th centuries. Assam has a very long history of visual art from the pre-historic age up to the end of Ahom rule in 1826 A.D. Among the earliest reference of Assam painting, the account of Chinese traveller Xuanzang records that King Bhaskaravarman of Kamarupa who was a friend of King Harsa of Kanauj presented the king “Carved boxes of panels for painting with brushes and gourds."