Arup Saikia
(The author is a noted cultural enthusiast, writer, and Bhaona artiste from Assam. arupsaikia07@gmail.com)
The many xatras (monasteries) played a pivotal role in preserving and popularising Sankari ideals and Bhaona after the demise of Sankardeva. The xatras are an expanded form of Namghar. Namghar is an Assamese prayer house and, socially, is also very important as the centre of rural administration. Sankerdeva at first created Namghar in Bordowa or Batadrava at the very young age of nineteen (1468). But at that time, Namghar was not fully grown; it was just in the embryonic stage. He staged his first pantomime drama, “Chinha Yatra,” in a temporary structure in Namghar.
Later, Namghar is more developed after returning from the first pilgrimage and spending nearly a decade (12 years) abroad.
At the beginning, the xatra and namghar have no difference. Both were simply prayer houses and the meeting places of the devotees. The literal meaning of xatra is assembly. Xatra is a residential spiritual school in layman’s language. Hostel facilities are available at the service of the students (devotees). It’s in the methodology of the ancient guru ashram (Abode of teacher). Bordowa wasn’t as such a Satra in today’s perspective. However, Bordowa Namghar is flanked by two xatras—Narowa and Salaguri—on its north and south, respectively. Saint Madhavdeva oversaw the construction of the first full-fledged xatra in Barpeta (late sixteenth century). There was a community prayer hall with an auditorium for the practice and performance of dance and drama. The name of the auditorium building was “Rangiyal-ghar.” The name has many similarities with Ranghar of the Ahom dynasty.
Nomenclature: The term “xatra” wasn’t used during the lifetime of Sankerdeva. Sankerdeva named this institution “Than” or “Dham.” But the name “Than”
was more prevalent and popular. During the lifetime of Sankerdeva, many “Thans” were established in the entire Brahmaputra valley. The “Than” of Barpeta, established by his main disciple Madhavdeva, is the biggest one of all.
Actually, Than was another name for Namghar at that time. So God’s residing house was also called Hari Griha,Guru Griha, Kirtana Griha, Prasangar Griha, etc. STRUCTURE: The main structure of Xatra is nothing but Namghar, but with dwelling facilities. The Namghar is situated at the center of the premises. The “Hati” (huts) of devotees are located in all directions. The four rows of huts form the four hatis.
On the other hand, Namghar is constructed in an east-west direction with a complete front opening. The eastern part of the building is said to be a womb chamber. The other western part of the area is used for assembly of devotees and other meeting purposes by common villagers. The sanctum sanctorum is the Singhasan, or Guru Asana. Guru Asana is generally made in a pyramidal pattern with seven layers, corresponding to Sapta Baikuntha (seven heavens: Swetabilas, Shantanubilas, Pushpabilas, Pankaj Bilas, Kanak Dant, Sanatan, and Golok, respectively). On the top of the layer, Kirtana or Namghosa is kept in a scissors like wooden structure called “Thaga.” The small place on the top of Guru Asana is Aamohi Ghar. The non-Sankari xatras of other sanghati can keep their own holy book in Aamohi ghar. It is not compulsory to keep Kirtan or Nam Ghosha alone. The holy book is covered with white cloth from top to bottom. The tortoise, lion, and elephant sculpted on pillars represent devotion, dominance, and sin, respectively.
A tortoise can keep its limbs inside its shell; like that, a devotee can also suppress greed. So sin can never enter the heart of a devotee. Sometimes, when sin appears, the lion in the name of the Lord suppresses the elephant of sin. Kirtana ghar or Namghar—the two words are synonymous. The total formation of Namghar expresses a unique, expanded Vaishnavite style. One Namghar comprises at least three structures. The western entryway is a small, square-sized open room (Batchora). The Batchora is connected to the main hip-roofed rectangular house by a veranda-like open structure (Bulani Chora). On the same line in the last part of the of the eastern side, Monikut (the House of Gems) is constructed. Unlike the rectangular main building, the size of Monikut is generally square. People sit in the main Kirtan ghar facing each other, row-wise, in an aisled pattern. The vacant middle portion facing Guru Asana is used for cultural shows and other congregational religious functions.
According to Indian spiritual ideals, merely ritual offerings cannot satisfy the deity as quickly as dance and song. Dance performed through voice and instrumental music ensures the fruits of sacrifice and worship. Therefore, Sankerdeva associated dance, song, and acting with worship. Therefore, one auditorium is also constructed in xatras for the practice of performing arts—Bhaona. The Bhaonas possess song, dance, and acting altogether. The effect of Bhaona is far-reaching for the awakening of spiritual and national consciousness.
ARCHITECTURE: The architecture of Namghar, or xatra, is purely indigenous. Since prehistoric times, Assam has been the land of major tribal or hilly people. It’s the utmost concern of Sankerdeva to convert the tribes to the Vaishnavite fold. The tribes living in Assam, like Kuki, Missing, Naga, or Kachari, have the tradition of building Dekachang or Morang ghar (tribal houses). Dekachang are mainly constructed by unmarried tribal boys. These Dekachangs started to play a vital role in rural administration, education, culture, etc. The famous anthropologist J. P. Mills asserted that the Dekasang of the Kacharis living in the plains could be converted into Namghar. Assamese Namghar inherited the role of guardian of the above-mentioned tribal houses or institutions in society. Sankerdeva imitated the tribal architectural or social culture to attract them to neo-vaishnavism. This allows the indigenous tribal elements to enter into the Sankari dance and song, along with some popular instruments.
The overall architecture of Namghar is very meaningful and easily uncomprehensible. The main entry door is named Singha-Duwar. The motif of a lion is decorated on the upper lintel. Symbolically, the powerful lion denotes an omnipotent God. Generally, in Assam, any big door or chair is addressed by people as Singha Duwar or Singhason, respectively. Spiritually, Narasingha is also revered as an incarnate being of the Lord. The nine divisions inside the Namghar symbolise nine devotions (na bhakti). The congregational part is divided into seven areas with fourteen posts. These fourteen represent fourteen parishadas (holymen). The main roof is connected by a veranda-like structure on three sides, except for the side of Guru Asana. The twelve posts on each side symbolise twelve Vaishnavas (devotees of Lord Vishnu). According to Vaishnavite scholars, Namghar is depicted as the foot symbol of Lord Vishnu. The top roof starts from the hip area of Lord. The continuous slope looks like the back of an elephant. Whatever the roof structure may be, it’s confirmed that Sankerdeva tried to develop indigenous Assamese architecture through Namghar.
POST-SANKARI XATRA:
(A). BRAHMA SANGHATI: The literal meaning of Sanghati is association. Xatra has been radically changed in the absence of Sankardeva. Madhavdeva was the unofficial successor of Sankardeva. But Sankerdeva’s main Brahmin disciples, Damodordev and Haridev, declined to follow Madhavdeva. So naturally, they formed a sub-sect of Xatra, namely Brahma Sanghati. The main monotheistic and non-idolatry ideology of Sankerdeva was deviated at the instance of his Brahmin disciples duo. The Vedic rituals of worship and classification on the basis of caste regained momentum in Brahma Sanghati. Sankardeva emphasised the need to abolish the caste system in total. As regards the abolition of the caste system, Sankerdeva was also not totally successful. Knowing this, Sankerdeva entrusted specially Brahmin Damordev to initiate fellow Brahmins to the Bhakti cult. Anyway, the motto of Sankardeva’s religious philosophy started to disband under Brahma Sanghati.
(B). PURUSH SANGHATI: This sanghati was born after the death of Madhavdeva. “Hari Naam” is their main sermon. The word- purush —obviously refers to Saint Sankardeva. His two grandsons, Purushottam and Chaturbhuj Thakur, established the Xatra of this Sanghati. As mentioned earlier, Sankerdeva also, to some extent, compromised his religious principles during his lifetime. So in Purush Sanghati, some brahminical rites are permissible.
( C). NIKA SANGHATI: The trio Badala Padma Ata, Kesava, and Mathura Das were the spiritual icons behind the formation of this Sanghati. Good companionship and holy thinking are the main precepts of the sub-sect of this Xatra. Being given utmost regard by Madhavdeva, his strict adherence to non-idolatry is followed.
(D). KALA SANGHATI: This xatra was formed at a place named Kaljar. Therefore, it’s called Kala. Worldly salvation through the worship of “Guru” is their main philosophy. Only the sect of this xatra was almost successful in abolition of the caste system. So many people of backward classes and a huge number of tribal people joined this sect. The large number of “Paiks” of the Ahom monarchy came under this satra to gain freedom by breaking servile bondage. Being strictly monotheistic xatra, the disciples are in no way allowed to bow their heads before anyone else except the one Almighty. The famous Moamoria rebellion that broke the backbone of the Ahom dynasty was done by the disciples of Kala Xatra.
XATRA & NAMGHAR AT THE PRESENT SITUATION: Xatra and Namghar both have a predominant influence on the social life of Assam. As all the xatras don’t share the same ideology, some Namghars are also likely to have nursed different sub-sect rites of Hinduism. But the differences within Namghar aren’t conspicuous or open like those of the xatras. Originally, some Namghars were patronised by the xatras of the same ideology in some parts of Assam. But nowadays it’s very few, and the Namghars are independent of the concerned villages. The quantity of Namghar is much greater than that of the xatras. Even some villages have two Namghars. So the present life of Assamese society is Namghar-centric. In the first quarter of the twentieth century, many Vaishnavite or Sankari organisations emerged. They are strictly monotheistic about Sankari ideals. Most of Namghar society is ideologically affiliated with these Sankari organisations or under the religio-cultural flag of Saint Sankardeva. So the maximum number of Namghars are united, unlike the xatras, which are divided into four sub-sects in the name of Sanghati. Some followers of brahminical satras (Damodariya) prefer to perform religious rites in “Than,” “Dol,” or temples besides Namghars.
The two most important institutions of Assam—Xatra and Namghar—must have ideological homogeneity for the overall development of Assamese society.