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by Rupam Kumar Boro

Hagiography is a treasure-trove of moral values and a correct path of leading one’s life, among others, as shown by the saints themselves. Saints occupy a prominent place of worship and is treated as an incarnation of God. When the lives of the saints are penned down in the form of the above genre, the devotees as well as the admirers tune in with the words inscribed on it.

The chief aspect in a hagiography is the element of unquestioning factor. Astounding events and miracles form one of the constituents of this genre. Hagiographers are often direct devotee or disciple. This world of spirituality is an access to enlightening journey for someone while someone may be a doubting Thomas.

In Assamese culture, Gurucharit occupies a significant place in knowing the lives of Srimanta Sankaradeva and Madhavadeva. We however notice three root causes that hinders in reading the Gurucharit. Firstly, unless required for academic purpose, we do not feel any urge to contemplate on this hagiography. Secondly, our traditional notion that Gurucharit, a sacred book, ought to be read in our “ripe old age” as it will lead us to adore spirituality to the core. Thirdly, the various written forms available perplex readers in terms of names and events. Materials appearing in a confusing way can demagnetize an ordinary reader. Under such circumstances a doubt arises regarding the authenticity of the descriptions.

In the midst of these bewilderment and orthodoxically held views, we are glad to receive the book Purnanga Katha Gurucharit, written by Sanjib Kumar Borkakoti. It is a completely research-oriented book, which requires an insightful reading. The writer has focussed his thoughts and sharp observations for several decades towards our Vaishnavite culture in terms of assessing Gurujana’s works. The present book consisting of one hundred ninety five chapters (excluding reference and bibliographical sections) is the result of Borkakoti’s years long devotion and hard work. This is a magnum opus in comprehending our religious life and culture along with diving into the life of the saint.

As events unfold from the cup of the writer’s pen, we receive a halo of the descriptions which were previously smeared with baffling elements. The writer adopts an unique but painstaking efforts in writing this book. For the convenience of the readers, he has cited each event as described by different hagiographers and then it is followed by a comparative study leading to a definite conclusion. This method allows us to visualize the incidents properly, leaving no room for any vague idea. Another interesting aspect which we cannot overlook is the academic background of our writer. Being a student of science, he has done ample justice to the book. Throughout the Gurucharit, readers would notice the procedure in calculation of dates, scientific analysis and deciphering of events thereby giving a hallmark to the book.

The second noteworthy factor is the construction of the language which is done in modern Assamese prosaic form. This indeed helps reader to read with ease and get attuned with the events. We personally offer our gratitude in this regard for such diligence of work aimed with the sole purpose of knowing our culture in its pristine form.

Thirdly, the presence of miracles is always seen to be an unattachable element in hagiography. We cannot question the range of extraordinary events happening around the life of the saints and devotees. Making an attempt to comprehend them catapults us into a cobweb of haziness. For it is the ‘faith’ that reigns supreme. In Purnanga Katha Gurucharit, we can obviously assume this precarious situation faced by the author.  For a scientific bent of mind, these may appear tough to accept. In finding solution to such difficulties the writer reaches out for practical analysis in order to gain a concrete reply. In events where rationality fails to seek the concrete truth, the writer honestly admits the boundary. The very boundary where spirituality inhibits logic and allows only theological aspects as the ultimate way to know the “absolute truth”. We do not find any single trace of forced views from the author. One can go through the chapters "Srimanta Sankaradevar Janma", " Srimanta Sankaradevar Aloukik Shakti aru Brahmanhakalar Bhandami", "Eshware Nije Drabya Khuji Khale" in this regard.

Fourthly, in giving a comprehensive account of the Gurucharit, the author does extensive study for it. Readers could see the explanations coming from various fields of study. Psychoanalytical study of dreams, Yogic Arts, Literature, Climatic study, Medical Science, Mechanical aspects and others -- comes within one umbrella occupying a strong foothold of authenticity. Interestingly this critical way of studying indeed allows us to receive a more accurate and concrete understanding of the events. For instance, in the chapter "Palnam Aru Aakaxigongar Sristi", the explanation of the event by bringing in the concept of 'artesian well' has a sound reason and is worth-reading. In "Brindabani Bastra Toiyar", one can come to a conclusive point regarding the actual measurement of this precious cloth. The description given by the author regarding the process involved in weaving cannot be missed out. Similarly, in "Ramanandar Bilap aru Shrimanta Sankaradevar Baikuntha Prayan", the convincing reason of Gurujana's death, that is chicken pox, is acceptable when one goes through the reasons cited but provided in an organized way of thinking. At the same time, we are assured from the writer's analysis that there were instances of partiality, haphazardness and a lack of scientific temperament among earlier hagiographers that eventually led to twisting of events including historical aspects.

Fifthly, the step taken for ‘field study’ strengthens the gravity of the book. In “Madangopalar Murti Pratistha”, one can witness this evidence. Similarly, readers can visualize in most of the descriptions about the distance of the places cited by the author. The chapter “Shrimanta Sankardevar Upari Puruxhakal” reveals an insight of Gurujana’s lineage methodically arranged and thereby giving us a sense of reliability. Most importantly is the location of Sankaradeva’s birth place, where the disputable instance is refuted with the aid of various evidences. At this point we are pleased to watch that the author has brought new light of confirmation which we can agree on a unanimous note.

Purnanga Katha Gurucharit requires serious study. A few of the “truth(s)” are still open for interpretation, thus retaining an intense curiosity for us. As most of the exaggerations and misinformations are sorted out with concrete evidences and demonstrations, readers will feel the palpability of authenticity in reading. The seeds of the author's fruitful research will help us in knowing Sankaradeva to the core. In it one will see him as a leading humanist figure. His entire life journey, philosophy and literary contributions will draw us a step closer to him.

One important aspect which we cannot overlook is the factor of impartiality rippled in the book. The author himself has stated clearly of adopting this vision in the preface. This tool has indeed become very effective. For the readers will not find any trace of "'I' ness" associated with the writings. No doubt he is open to all ideas but careful enough in meticulously judging them through field study and with scientific parameters. This not only helps the writer but the readers as well who could simultaneously observe this healthy underlying force. The “I”ness has been transformed into ‘Oneness’.

As a result, we get to read this Gurucharit in a unique way. This however does not obstruct our eagerness. It rather invites us to walk on an illuminating journey where at each step truth, religion and philosophy of Sankaradeva envelopes us profoundly.

With this one can proceed the Gurucharit on a new flavour and insight. Published by Aank Baak the cover of the book impels to revisit fifteenth century admiring the days Sankaradeva lived by and our yearning for it! Readers will definitely feel a sense of pride to have a copy of it in their home library.

[Published in The Sentinel, 26 May, 2024]

by Krishnasarana Bhakat (Edgar Faingor)

I am originally from Moscow, Russia, born in a non-religious family. From my early teenage years I was interested in spirituality, as I had pressing questions regarding the nature of our being, and the meaning of life. As Russia is historically and predominantly a Christian country, naturally at first I was exploring Christianity, and joined a course in a Catholic Church. Later on, I felt the need to study other spiritual paths, and therefore engaged in long-term studies of Hinduism and then Buddhism. While still in Moscow, I became interested in the teachings of Gaudiya Vaishnavism and  Vedanta, and visited the Hare Krishna temple as well as Ramakrishna Mission centre.... more

                                    प्रो. वीरेन्द्र कुमार अलंकारः, संस्कृत विभाग, पंजाब विश्वविद्यालय, चण्डीगढ

 

नाट्यकृद् भक्तिविल्लोकसंस्कारकृत्

गीतसंगीतकाव्येष्वधीती  सुधीः।

धर्मविद्   भेदभिन्नृत्यकृद्   गायकः

देवदेवो हृदा स्तूयते शङ्करः।।१।।

 

लेभे  यो  वै  जनुः  श्रीप्रसिद्धेऽसमे

घोरकालेऽपि यो भास्वरो भायुतः।

मेने  ह्येकं  हि  धर्मं  सदा  जीवने  ... more

SPIRITUAL HUMANIST SRIMANTA SANKARADEVA

by Dr Sanjib Kumar Borkakoti

Dear friends from North America, I am highly priviledged to address you today on the life and works of Srimanta Sankaradeva, especially how he was a spiritual humanist. I am grateful to Naamghar Association of America for this great opportunity. The members of this Association deserve accolades for their sincerity in preserving and spreading the legacy of Srimanta Sankaradeva in foreign shore. Discussion about the saint is very scanty. Naamghar Association of America has done a commendable job by organising this dialogue. ... more

by Dr Sanjib Kumar Borkakoti


The Thân or Sattrainstitution is a living heritage bequeathed to the posterity by Srimanta Sankaradeva (1449 AD - 1568 AD). Unlike most heritages, which are long dead, the Thân or Sattrainstitution continues to be a vibrant one. Earlier, it was known only as Thân. Later on the name Sattra also came to be used. The religious order Eka Sarana Nâma Dharma of Srimanta Sankaradeva sustained itself for more than five centuries on the strength of the Thân or Sattra. ... more

by Rohit Venkateshwaran


(Continued from part I)


भकतेसेमोरहृदिजानिबानिश्चय
भकतजनरजानाआमिसेहृदय
मइबिनाभकतेनिचिन्तेकिछुआन
भकततपरेमइनिचिन्तोहोआन ll १८२९
I forever am enshrined in the heart of My devotees. Devotees, forever are enshrined in My Heart! My devotees think of nothing but Me, and I, nothing but them!"

 

Now compare the above with Abhang 2622 from Sant Eknath's collection. The language is nectarine Marathi: ... more

by Rohit Venkateshwaran

 

Sant Eknath was an epoch-making saint, social reformer as well as literary figure in the Vaishnavite Bhakti Movement of Maharashtra. Like our Mahaguru Srimanta Sankaradeva, he too was a poet par excellence who rendered the essence of the Srimad Bhagavatam in the language of the masses: Marathi.

 

With all humility, I render in English the most widely quoted part of Gurujana's "Kirtana Ghosha": the 4th Kirtan of the 26th Section "Sri Krishnar Vaikuntha Prayan", and compare it with Abhang no' 2622 of Sant Eknath’s collection (the “Eknathi Gatha”). Both are magnificent pieces of poetry which encompass Lord Sri Krishna's final teachings to Uddhava (in the 11th Canto of the Bhagavatam) before He ascended to Vaikuntha. This will be a long read, but the experience for sure, will be delightful! ... more

by Dr Pabitrapran Goswami,


We find altogether 36 ragas attached to the Bargits and the Ankar gits: Ahir, Asowari, Barari, Basanta, Belowar, Bhatiyali, Bhupali, Dhanasri, Gandhar, Gauri, Kalyan, Kamod, Kanara, Kau, Kau-Kalyan-Sindhura, Kedar, Karunyakedar, Lalit, Mahur or Maur, Mahur-Dhanasri, Mallar, Nat, Nat-Mallar, Purbi, Saranga, Sindhura, Sri, Sri-Gandhar, Sri-Gauri, Sripayar, Suhai, Syam, Syamgera, Tur, Tur-Basanta and Tur-Bhatiyali. Out of these some are unitary in character and some others are of mixed or compound nature, involving the fusion of two or more ragas. ... more

by Dr Pabitrapran Goswami


Prabandha Gana:

        Dhrupadaand Kirttana or Kriti are the earliest forms of music extant today in the Hindusthani and the Karnatik systems. The Prabandha Gana evidently represented a stage in the evolution of Indian music prior to that of Dhrupada and Kirttana, a stage till which perhaps the ragas and the talas enjoyed uniformity in almost all parts of India.   sarngadeva, the 13th century scholar cum musician, in his encyclopaedic work Sangita Ratnakara, speaks of three chief types of Prabandha, viz., Suda, Ali and Biprakirna and of two chief sub-divisions of Suda-Prabandha : suddha-suda and Salaga-suda... more

by Dr Pabitrapran Goswami


            Nothing can be definitely said about the exact form of Assamese music in the pre-Sankaradeva time. However, scholars have often tried to trace back the lineage of classical art and music in Assam right from the days of Bharata’sNatya sastra. Out of the four different forms of drama, viz., Daksinatya, Awanti, Pancal-Madhyama andOdra-Magadhi, referred to  in the Natyasastra, the form called Odra-Magadhi was, according to Bharata, in vogue in the entire north-eastern region covering Anga, Banga, Kalinga, Magadh, Nepal and Pragjyotispur (ancient Assam). During those days dance and music were indispensable parts of a drama.... more

By Dr Pabitrapran Goswami


The name Bargit is popularly ascribed to a special set of devotional songs composed during the late 15th and the early 16th centuries A.D. by Srimanta Sankaradeva and his disciple Sri Sri Madhavadeva, the two chief exponents of Vaishnavism in Assam. According to the Carita Puthis1, Sankaradeva and Madhavadeva referred to their songs as git only. The adjectival prefix Bar2, therefore, must have been a later reverential addition by the devout disciples of the two Vaishnava priests, which might bear upon the musical grandeur3 of the songs too. ... more

by Dr Sanjib Kumar Borkakoti



Srimanta Sankaradeva created a new religion, Eka Sarana Nâma Dharma. But he was not a religious preceptor alone. He had multi-faceted talent in the disciplines of dance, music, drama, verses etc. He also created a new social structure. He may be placed among the all time greats in the world for his role in social reform alone. The time when he was born in was a time of terror and tyranny. ... more

Translated by Prof William L. Smith

[Reproduced from https://atributetosankaradeva.org with thanks] 

Hail Krishna, Vishnu Achyuta, the Supreme Lord.

Mounted on the shoulders of Garuda, he struck down his

enemy.

In his joyful lila the son of Devaki

carried off the parijata flower for the sake of his beloved.

Victory to Krishna.... more


Translated by Dr. Satyendranath Sarma

[Reproduced from https://atributetosankaradeva.org with thanks]

A complete translation of the above named play, minus its verse portions which are meant to be sung in appropriate rāgas, is given below. The verse portions are metrical renderings of the prose dialogue and Sutradhāra’s commentaries.... more

[Reproduced from https://atributetosankaradeva.org with thanks]


Jaya Guru Sankara / sarva-gunākara / 

yākeri nāhike upām:
Tohāri caranaka / renu satakoti /
bāreka karoho pranām.... more

[Adapted from https://atributetosankaradeva.org with thanks] 

Chapter 'Haramohana' (2nd Kirttana)
Pada

 Namo Namo Madhava vidhira vidhidata

Tumi Jagatara gati-mati pita mata

Tumi paramatma jagatara esha eka

Eku bastu nahike tumaka byatireka-9

Tumi karya karana samasta sarasara... more

by Gauri Sankar Borah

Lord Krishna must have been the first to use the word Sarana (lit., shelter) for initiation in Geeta (18/66). But we feel that Srimanta Sankaradeva's use and application of it was quite his own. It is as appropriate as it is unique. ... more

by Dr. Sanjib Kumar Borkakoti

Srimanta Sankaradeva (1449-1568 AD), the patron saint of the Assamese people was a social reformer besides being the founder of a new religious order Eka Sarana Nama Dharma. He used the tool of culture to preach his socio-religious ideology.... more

By Nagen Dutta

Four ways of reaching Truth, as recognized in Indian tradition are : Bhakti yoga, Karma yoga, Jnana yoga and Raja yoga. ... more

Dr Sanjib Kumar Borkakoti

Art is a way of expressing one’s ideas in aesthetically appealing forms. These include sculptures, paintings, masks, carvings, murals, illustrations etc. It was therefore quite natural that Srimanta Sankaradeva, the father of Assamese literature and culture used this medium to a large extent for his proselytizing activities.... more
 Dr Pona Mahanta

 
The history of regular Assamese drama and theatre began with Srimanta Sankaradeva (1449-1568 AD). He wrote and produced plays nearly five centuries ago when classical Sanskrit drama was at a low ebb and when Shakespeare was not even born.... more

by Dr Sanjib Kumar Borkakoti

           The North East India was known for different ethnic conflicts when Srimanta Sankaradeva was born here in the fifteenth century. Those ethnic groups were Karbi, Ahom, Kachari, Chutiya, Naga, Manipuri Meitei, Koch, Mising,... more

by Dr. Sanjib Kumar Borkakoti

Srimanta Sankaradeva founded a distinct and new philosophy, which had some unique characteristics. He founded a new Vaishnavite order within the Sanatana Dharma or Hinduism.... more

পুৰুষোত্তম ঠাকুৰ 


জয় জয় বটদ্ৰৱা বৈকুন্ঠ দুতয়।

সেহি থানে নিজগুৰু ভৈলন্ত উদয়।।... more

Compiled by Dr Sanjib Kumar Borkakoti

Important Books and Articles about Life, Works and Philosophy of Srimanta Sankaradeva... more

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