Literary works of Srimanta Sankardev

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== Literary Works of Srimanta Sankardev ==
== Literary Works of Srimanta Sankardev ==
Mahapurush Srimanta Sankardev stands as one of the greatest literary figures in Assamese history. His work laid the foundation for Assamese devotional literature and helped shape the spiritual and cultural landscape of mediaeval Assam. Sankardev used language, poetry, drama and music to communicate his devotional ideas. He wrote mainly in the Assamese language of the period so that the common people could read and understand them. But for his songs and dramas, he used Brajavali (a literary dialect) and Sanskrit so that his message of devotion (bhakti) could reach a wide audience. His literary output can be broadly grouped into poetic works, dramatic compositions, devotional songs, and scriptural renderings. Scholars describe his language as lucid and his verses as lyrical, reflecting deep spiritual devotion and philosophical insight. [https://barpetasatra.org/about-srimanta-sankardeva/srimanta-sankardev/ <sup><nowiki>[1]</nowiki></sup>]
Mahapurush Srimanta Sankardev stands as one of the greatest literary figures in Assamese history. His work laid the foundation for Assamese devotional literature and helped shape the spiritual and cultural landscape of mediaeval Assam. Sankardev used language, poetry, drama and music to communicate his devotional ideas. Though he mainly wrote in Assamese language for common Assamese people to understand but for songs and drama he used a literary dialect Brajavali and Sanskrit for a broader reach. His literary output can be grouped into dramatic compositions, scriptural renderings, compositions and devotional songs which were written in lucid and lyrical language reflecting his philosophical insight. (''Barpeta Satra. n.d.'')


Sankardev’s language is clear, musical and accessible. His verses flow easily, making complex spiritual ideas understandable to ordinary people. Bhakti, or loving devotion to Krishna, forms the core of everything he wrote. His writings were not intended only for scholars or priests but for collective reading, singing and performance. This democratic literary vision allowed religious literature to enter homes, village prayer halls and public spaces across Assam.
Loving devotion to Lord Krishna or Bhakti is expressed by Sankardeva in clear and easing flowing verses making it accessible for common people as his writings were not only meant for priests or scholars. This inclusive literary vision brought religious literature into homes, village prayer halls, and public spaces throughout Assam.


=== Poetic Works of Sankardev ===
=== Poetic Works of Sankardev ===
Srimanta Sankardev’s poetic works (kavya) form a vital part of Assamese devotional literature. Written mainly in simple Assamese and Brajavali, his poetry presents stories from Hindu scriptures with deep emotional devotion to Krishna. These works combine narrative clarity with spiritual teaching, making complex religious ideas accessible to ordinary people. Through kavya, Sankardev popularised bhakti, encouraged ethical living and laid the foundation for a shared religious and literary culture in Assam.
Written in Assamese and Brajavali, Sankardev’s poetic works (kavya) present stories from Hindu scriptures with deep emotional devotion to Krishna that popularised bhakti, encouraged ethical living and laid the foundation for a shared religious and literary culture in Assam.


==== Kirtan Ghosha: The Magnum Opus ====
==== Kirtan Ghosha: The Magnum Opus ====
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(Sing the devotion to Krishna, who is the Lord.) That devotion lies at the feet of Krishna.)
(Sing the devotion to Krishna, who is the Lord.) That devotion lies at the feet of Krishna.)


This verse exemplifies Sankardev’s central theme of devotion to a personal god through joyous, shared song. <sup>[[wikipedia:Kirtan_Ghosha|[2]]]</sup>
This verse exemplifies Sankardev’s central theme of devotion to a personal god through joyous, shared song. (''Wikipedia contributors. n.d.'')


==== Harishchandra-upakhyana ====
==== Harishchandra-upakhyana ====
Harishchandra-upakhyana is regarded as Srimanta Sankardev’s earliest literary work and reflects the moral seriousness of his youthful thought. The poem retells the well-known Puranic tale of King Harishchandra, who sacrificed his kingdom, family and personal dignity to uphold truth and righteousness. Sankardev presents Harishchandra as the ideal devotee whose unwavering commitment to truth becomes a form of devotion itself. The language is simple and direct, aimed at ordinary listeners, while the emotional tone evokes compassion and moral reflection.[https://barpetasatra.org/about-srimanta-sankardeva/srimanta-sankardev/ <sup><nowiki>[1]</nowiki></sup>]
Harishchandra-upakhyana is regarded as Srimanta Sankardev’s earliest literary work and reflects the moral seriousness of his youthful thought. The poem retells the well-known Puranic tale of King Harishchandra, who sacrificed his kingdom, family and personal dignity to uphold truth and righteousness. Sankardev portrays Harishchandra as the ideal devotee whose adherence to truth becomes a form of devotion itself. With simple and direct language, Sankardev retained the tone that evoked moral reflection and compassion. (''Barpeta Satra. n.d.'')


==== Rukmini-harana ====
==== Rukmini-harana ====
Rukmini-harana is one of Sankardev’s most celebrated poetic works and narrates Krishna’s divine elopement with Rukmini. The poem highlights loving devotion, complete surrender and the saving grace of God. Rukmini's faith in Krishna, expressed through her heartfelt letter, becomes the emotional centre of the work. Sankardev portrays Krishna not merely as a heroic figure but as the compassionate Lord who responds to sincere devotion. Written in flowing verse, the poem balances narrative excitement with spiritual depth. [https://dn720004.ca.archive.org/0/items/dli.calcutta.10805/cu_pub1076.pdf <sup><nowiki>[3]</nowiki></sup>]
Rukmini-harana is one of Sankardev’s most celebrated poetic works and narrates Krishna’s divine elopement with Rukmini. The poem highlights Rukmini’s faith in Lord Krishna and her loving devotion that is expressed through a heartfelt letter. Lord Krishna is portrayed with warmth and compassion and not only as a heroic figure.The poem balances excitement with spiritual depth. (''Borah, 1950'')


Other Poetic Works  
Other Poetic Works  
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=== Works on Bhakti philosophy ===
=== Works on Bhakti philosophy ===
Srimanta Sankardeva expressed his Bhakti philosophy mainly through literature, using simple language to convey deep spiritual truths. His writings aimed to make devotion accessible to all, regardless of caste or learning. Drawing on the Bhagavata tradition, he emphasised surrender to Krishna, remembrance of the divine name, ethical living, and humility. Through poetry, dialogue, and devotional texts, Sankardeva transformed Bhakti into a lived spiritual path rooted in love, grace, and moral discipline rather than ritual or intellectual complexity.
Srimanta Sankardeva used simple language to express Bhakti philosphy and make thoughts accessible to all irrespective of caste and religion. Having drawn inspiration from Bhagvata tradition, he urges followers to surrender to Krishna and follow a path of humility and ethical living. Sankardeva transformed Bhakti into a spiritual path through poetry and dialogue rooted in grace and love.


==== Gunamala ====
==== Gunamala ====
Gunamala is one of Sankardeva’s most influential devotional works. It is a revered devotional scripture composed by him in 1552 at the request of Koch king Naranarayana. Written within a single night, it is a concise and poetic abridgement of the ten cantos of the Bhagavata Purana. Through rhythmic and memorable verses, Sankardeva narrates key episodes from the life of Lord Krishna, making complex spiritual teachings accessible to common people. The work symbolises the essence of Eka Śaraṇa Nāma Dharma and is placed on the Guru Asana in Namghar as a sacred representation of God. <sup>[[wikipedia:Gunamala|[6]]]</sup>
Gunamala is one of Sankardeva’s most influential devotional works. It is a revered devotional scripture composed by him in 1552 at the request of Koch king Naranarayana. Written within a single night, it is a concise and poetic abridgement of the ten cantos of the Bhagavata Purana. Through rhythmic and memorable verses, Sankardeva narrates key episodes from the life of Lord Krishna, making complex spiritual teachings accessible to common people. The work symbolises the essence of Eka Śaraṇa Nāma Dharma and is placed on the Guru Asana in Namghar as a sacred representation of God. (''Wikipedia contributors. n.d.'')


Other Works Expressing His Bhakti Philosophy
Other Works Expressing His Bhakti Philosophy
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=== Creative Transliteration of Sacred Texts ===
=== Creative Transliteration of Sacred Texts ===
Sankardeva’s transliterations of the ‘Bhagavata Purana’ and the ‘Ramayana’ were not literal translations but thoughtful transcreations shaped by devotional purpose. He conveyed not only meaning but also cultural tone, emotion, and imagery, adapting the texts to the language, landscape, and social life of Assam. Sections that promoted caste hierarchy were deliberately omitted, while the dignity and spiritual value of marginalised communities were affirmed. By reshaping the scriptures in this way, Sankardeva made bhakti inclusive. accessible, and ethically grounded, ensuring that devotion transcended social divisions and spoke directly to the lived experiences of the people.
Sankardeva’s transliterations of the ‘Bhagavata Purana’ and the ‘Ramayana’ were not literal translations but thoughtful transcreations shaped by devotional purpose. He conveyed not only meaning but also cultural tone, emotion, and imagery, adapting the texts to the language, landscape, and social life of Assam. The spiritual values of marginalised communities were affirmed in the adaptation. By reshaping the scriptures in this way, Sankardeva made bhakti inclusive and accessible to all ensuring that devotion transcended social divisions and spoke directly to the lived experiences of the people.


=== Devotional Songs ===
=== Devotional Songs ===
Sankardeva’s musical compositions were orientated towards Vishnu and Krishna Bhakti. Among these, a special group of sacred compositions known as ‘Borgeet’ continues to hold a central place in Assamese religious and cultural life. Alongside these sacred songs, Sankardeva also composed Bhatima, devotional and laudatory verses written for worship, drama, and royal occasions, reflecting his ability to adapt devotion to different social contexts. <sup>[[wikipedia:Borgeet|[5]]]</sup>
Sankardeva’s musical compositions were orientated towards Vishnu and Krishna Bhakti. Among these, a special group of sacred compositions known as ‘Borgeet’ continues to hold a central place in Assamese religious and cultural life. Sankardeva also composed Bhatima, devotional verses written for worship, drama, and royal occasions, reflecting his ability to adapt devotion to different social contexts. (''Wikipedia contributors. n.d.'')


==== Borgeet ====
==== Borgeet ====
Borgeets are sacred lyrical songs composed by Srimanta Sankardeva and Madhavdeva during the 15th and 16th centuries. Written in the Brajavali language, they are set to specific ragas but are not strictly bound to tala. These songs form an essential part of prayer services in Sattras and Namghars associated with Ekasarana Dharma and express deep devotional emotions rooted in bhakti.
Composed by Srimanta Sankardeva and Madhavdeva, Borgeets are sacred lyrical songs of the 15th and 16th centuries written in the Brajavali language. Though they are set to specific ragas but are not strictly bound to tala. These songs are an integral part of prayer services in Sattras and Namghars associated with Ekasarana Dharma and express deep devotional emotions rooted in bhakti.


The first Borgeet was composed by Sankardeva in 1488 during his pilgrimage to Badrikashram. Originally, Sankardeva composed around 240 Borgeets, but a fire destroyed most of them, leaving only about 34 preserved through memory. Sankardeva stopped writing Borgeets after this loss. Madhavdeva later wrote more than 200, most of which were about child Krishna. Structurally, Borgeets follow the pada form, with a recurring refrain called dhrung, and they often mention the poet’s name in the final verse.
The first Borgeet was composed by Sankardeva in 1488 during his pilgrimage to Badrikashram. Although he is believed to have composed around 240 Borgeets, most were lost in fire leaving only 34 that survived through oral preservation. Sankardeva stopped writing Borgeets after this loss. Madhavdeva later wrote more than 200, most of which were about child Krishna. Structurally, Borgeets follow the pada form, with a recurring refrain called dhrung, and they often mention the poet’s name in the final verse.


Musically, Borgeets are closer to the Dhrupad tradition and follow the Prabandhan Gana system. Raga diya, a fixed form of alap using divine names, precedes the singing. Traditionally, Borgeets are performed without rhythm, though talas are used in congregational settings. Over time, Borgeets have influenced Assamese culture and modern music, with renditions by notable artists and adaptations in films and orchestral compositions, while still retaining their spiritual essence.
Musically, Borgeets are closer to the Dhrupad tradition and follow the Prabandhan Gana system. Raga diya, a fixed form of alap using divine names, precedes the singing. Traditionally, Borgeets are performed without rhythm, though talas are used in congregational settings. Over time, Borgeets have ileft a lasting influence in Assamese culture and modern music, with performances by notable artists and adaptations in films and orchestral compositions, while preserving the spiritual essence.


A verse from one of his famous borgeets reads
A verse from one of his famous borgeets reads
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=== Ankia Nat: Sankardev’s One-Act Plays ===
=== Ankia Nat: Sankardev’s One-Act Plays ===
Srimanta Sankardev was the pioneer of Ankia Nat, a unique form of one-act drama that combined devotion, music, and dance. His plays often featured a Sutradhara or narrator and incorporated theatrical elements like masks, making them accessible and engaging for audiences. The Cihna Yatra is considered one of the earliest open-air theatrical performances in the world, though its text is lost. These innovations influenced later global theatre practices and remain an important part of Assamese cultural heritage.
A pioneer of Ankia Nat, one-act drama, Srimanta Sankardev combined dance, music and devotion in his plays which also featured a sutradhar or narrator. He incorporated theatrical elements like masks to keep the audience engaged. Though the text is lost, one of the earliest open-air theatrical performances is the Cihna Yatra. These innovations influenced later global theatre practices and remain an important part of Assamese cultural heritage.


==== Cihna-Yatra ====
==== Cihna-Yatra ====
The Cihna-yatra is regarded as one of Sankardev’s earliest major cultural contributions. It was a large-scale religious and artistic presentation depicting scenes from the life of Lord Krishna, particularly his childhood exploits in Vrindavan. This event is considered a precursor to Assamese theatrical traditions and is often described as an early form of religious drama.
The Cihna yatra, one of Sankardeva’s earliest contributions depicts scenes from the life of Lord Krishna and childhood exploits in a poetic and artistic manner. This is considered as an early form of religious drama and a precursor to Assamese theatrical traditions.


Cihna-yatra combined painted backdrops, symbolic representations, music and narration to convey spiritual stories to the public. It was designed to educate and inspire devotion rather than entertain in a purely secular sense. Through this medium, Sankardev demonstrated how visual art and performance could be used to communicate complex religious ideas to a largely non-literate audience.
Cihna combined various symbolic representations and narration to share spiritual stories and inspire devotion for Lord Krishna. Sankardev used visual art and performance to portray complex ideas in simple form for the largely non-literate audience. Cihna-yatra insipired Sankadeva to work on further theatrical traditions like Bhaona and Ankia Naat which became integral to Assamese culture.


The success of Cihna-yatra encouraged Sankardev to further develop theatrical forms such as Ankia Naat and Bhaona, which later became central to Assamese religious culture.[[/dn790009.ca.archive.org/0/items/in.ernet.dli.2015.452732/2015.452732.Mahapurush-Srimanta-Sankardev-Ed-1st.pdf|[]]
'''Other Notable Works include:'''
 
Other Notable Works  


* Patni-prasada
* Patni-prasada
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=== Sattriya Dance and Vrindavani Vastra: Sankardev’s Artistic Legacy ===
=== Sattriya Dance and Vrindavani Vastra: Sankardev’s Artistic Legacy ===
Srimanta Sankardev not only transformed devotional literature and theatre but also enriched Indian classical arts. He conceived and developed Sattriya dance, a devotional performance form preserved for centuries in the sattras of Assam. Initially performed as a medium of religious expression, Sattriya combines intricate movements, storytelling, and music to convey spiritual themes. Today, it is recognised as one of India’s eight classical dance forms, and some devout followers refer to it as a Sankari dance in his honour.
Besides transforming devotional literature and theatre, Srimanta Sankardea enriched Indian classical arts as well. He is noted to conceive and develop Sattriya dance a devotional performance form preserved for centuries in the sattras of Assam. Initially performed as a medium of religious expression, Sattriya combines intricate movements, storytelling, and music to convey spiritual themes. Today, it is recognised as one of India’s eight classical dance forms, and some devout followers refer to it as a Sankari dance in his honour.


The Vrindavani Vastra, a monumental tapestry measuring 120 by 60 cubits, exemplifies Sankardev's creativity in the visual arts. Woven under his supervision by twelve master weavers  led by Mathuradas Burha Aata in Barpeta, the cloth illustrated the lila of Lord Krishna with detailed embroidery on silk. Commissioned by Koch king Naranarayan, it symbolised devotional storytelling through textile art. While parts of the Vastra survive in Paris and London, it reflects Sankardev’s ability to merge spirituality, art, and pedagogy in lasting cultural forms. [[wikipedia:Sankardev|<sup>[4]</sup>]]
The Vrindavani Vastra, commisioned by Koch king Naranarayan a monumental tapestry measuring 120 by 60 cubits, exemplifies Sankardev's creativity in the visual arts. Led by Mathuradas Burha Aata in Barpeta and woven by twelve master weavers, this masterpiece illustrates the lila of Lord Krishna with detailed embroidery symbolises strorytellingg through textile art. While parts of the Vastra survive in Paris and London, it reflects Sankardev’s ability to merge spirituality, art, and pedagogy in lasting cultural forms. (''Wikipedia contributors. n.d.'')


'''Legacy'''
=== Legacy ===
Sankardev’s legacy lives through this literary works even today as people still recite his verses and perform his plays in community gatherings and Namghars. The significance of these texts is evident in the fact manuscripts like the Kirtan Ghosha are still preserved even in national archives.


Sankardev’s literary works made religious teachings accessible to ordinary people, far beyond the priestly class. People continue to perform and recite his verses and plays in Namghars, Sattras, and community gatherings throughout Assam. The enduring significance of these texts is evident in their survival in manuscript form and their inclusion in educational and devotional practices. Manuscripts like the Kirtan Ghosha are preserved even in national archives, reflecting their historical and cultural importance
The enduring significance of these texts is evident in their survival in manuscript form and their inclusion in educational and devotional practices.


'''References'''
'''References'''


# https://barpetasatra.org/about-srimanta-sankardeva/srimanta-sankardev/  
Barpeta Satra. (n.d.). ''About Srimanta Sankardeva''. Barpeta Satra. <nowiki>https://barpetasatra.org/about-srimanta-sankardeva/srimanta-sankardev/</nowiki>
# https://en.wikipedia.org/wiki/Kirtan_Ghosha  
 
# https://dn720004.ca.archive.org/0/items/dli.calcutta.10805/cu_pub1076.pdf  
Wikipedia contributors. (n.d.). ''Kirtan Ghosha''. ''Wikipedia''. Retrieved February 9, 2026, from <nowiki>https://en.wikipedia.org/wiki/Kirtan_Ghosha</nowiki>
# https://en.wikipedia.org/wiki/Sankardev  
 
# https://en.wikipedia.org/wiki/Borgeet
Borah, A. (Ed.). (1950). ''Rukmini-haran-nat'' (2nd ed.). Internet Archive. <nowiki>https://dn720004.ca.archive.org/0/items/dli.calcutta.10805/cu_pub1076.pdf</nowiki>
# https://en.wikipedia.org/wiki/Gunamala
 
Wikipedia contributors. (n.d.). ''Sankardev''. ''Wikipedia''. Retrieved February 9, 2026, from <nowiki>https://en.wikipedia.org/wiki/Sankardev</nowiki>
 
Wikipedia contributors. (n.d.). ''Borgeet''. ''Wikipedia''. Retrieved February 9, 2026, from <nowiki>https://en.wikipedia.org/wiki/Borgeet</nowiki>
 
Wikipedia contributors. (n.d.). ''Gunamala''. ''Wikipedia''. Retrieved February 9, 2026, from <nowiki>https://en.wikipedia.org/wiki/Gunamala</nowiki>

Latest revision as of 00:18, 10 February 2026


Literary Works of Srimanta Sankardev[edit | edit source]

Mahapurush Srimanta Sankardev stands as one of the greatest literary figures in Assamese history. His work laid the foundation for Assamese devotional literature and helped shape the spiritual and cultural landscape of mediaeval Assam. Sankardev used language, poetry, drama and music to communicate his devotional ideas. Though he mainly wrote in Assamese language for common Assamese people to understand but for songs and drama he used a literary dialect Brajavali and Sanskrit for a broader reach. His literary output can be grouped into dramatic compositions, scriptural renderings, compositions and devotional songs which were written in lucid and lyrical language reflecting his philosophical insight. (Barpeta Satra. n.d.)

Loving devotion to Lord Krishna or Bhakti is expressed by Sankardeva in clear and easing flowing verses making it accessible for common people as his writings were not only meant for priests or scholars. This inclusive literary vision brought religious literature into homes, village prayer halls, and public spaces throughout Assam.

Poetic Works of Sankardev[edit | edit source]

Written in Assamese and Brajavali, Sankardev’s poetic works (kavya) present stories from Hindu scriptures with deep emotional devotion to Krishna that popularised bhakti, encouraged ethical living and laid the foundation for a shared religious and literary culture in Assam.

Kirtan Ghosha: The Magnum Opus[edit | edit source]

The Kirtan Ghosha is a central devotional text of Ekasarana Dharma, composed by Srimanta Sankardev in the Brajavali language. It is one of Sankardev’s most celebrated literary works. Its importance in the tradition is second only to Sankardev’s Bhagavata. It is a collection of devotional verses telling the life and deeds of Lord Krishna and other episodes from sacred texts.

This book was meant for community singing in the Ekasarana Dharma tradition and remains one of the most widely recited texts in Assam today. Multiple sections, narrating episodes like Pasanda Mardana, Namaparadha, and Ajamilopakhyana, inspire devotion and moral living.

The text contains 26 sections with 31 kirtans narrating episodes from Krishna’s life. While Sankardev wrote almost all the kirtans, Madhavdev and other poets composed a few. Each kirtan begins with a refrain called ghoxa, followed by verses or padas written in various poetic meters, such as Jhuna, Laghu Payara, Dulari, and Chabi, giving the work both rhythmic beauty and narrative richness.

The devotional verses in the Kirtan Ghosha were written to be sung in congregations and continue to be part of religious life in Assamese Namghars and Sattras. One popular verse from the Kirtan Ghosha expresses the devotee’s longing for Krishna:

“Narayana kahe bhakati karu tera,

Sehi bhakti he Krishna charaneera.”

(Sing the devotion to Krishna, who is the Lord.) That devotion lies at the feet of Krishna.)

This verse exemplifies Sankardev’s central theme of devotion to a personal god through joyous, shared song. (Wikipedia contributors. n.d.)

Harishchandra-upakhyana[edit | edit source]

Harishchandra-upakhyana is regarded as Srimanta Sankardev’s earliest literary work and reflects the moral seriousness of his youthful thought. The poem retells the well-known Puranic tale of King Harishchandra, who sacrificed his kingdom, family and personal dignity to uphold truth and righteousness. Sankardev portrays Harishchandra as the ideal devotee whose adherence to truth becomes a form of devotion itself. With simple and direct language, Sankardev retained the tone that evoked moral reflection and compassion. (Barpeta Satra. n.d.)

Rukmini-harana[edit | edit source]

Rukmini-harana is one of Sankardev’s most celebrated poetic works and narrates Krishna’s divine elopement with Rukmini. The poem highlights Rukmini’s faith in Lord Krishna and her loving devotion that is expressed through a heartfelt letter. Lord Krishna is portrayed with warmth and compassion and not only as a heroic figure.The poem balances excitement with spiritual depth. (Borah, 1950)

Other Poetic Works

  • Parijat-harana
  • Kaliya-damana
  • Ram-vijaya
  • Ajamilopakhyana
  • Bali-chalana
  • Kurukshetra-yatra
  • Gopi-uddhava-samvada
  • Amrita-manthana
  • Krishna-prayana-pandava-niryana
  • Kamajaya

Works on Bhakti philosophy[edit | edit source]

Srimanta Sankardeva used simple language to express Bhakti philosphy and make thoughts accessible to all irrespective of caste and religion. Having drawn inspiration from Bhagvata tradition, he urges followers to surrender to Krishna and follow a path of humility and ethical living. Sankardeva transformed Bhakti into a spiritual path through poetry and dialogue rooted in grace and love.

Gunamala[edit | edit source]

Gunamala is one of Sankardeva’s most influential devotional works. It is a revered devotional scripture composed by him in 1552 at the request of Koch king Naranarayana. Written within a single night, it is a concise and poetic abridgement of the ten cantos of the Bhagavata Purana. Through rhythmic and memorable verses, Sankardeva narrates key episodes from the life of Lord Krishna, making complex spiritual teachings accessible to common people. The work symbolises the essence of Eka Śaraṇa Nāma Dharma and is placed on the Guru Asana in Namghar as a sacred representation of God. (Wikipedia contributors. n.d.)

Other Works Expressing His Bhakti Philosophy

  • Bhakti-pradīpa
  • Anādi-pātana
  • Nimi-nava-siddha-saṃvāda
  • Bhakti Ratnākara (in Sanskrit)

Creative Transliteration of Sacred Texts[edit | edit source]

Sankardeva’s transliterations of the ‘Bhagavata Purana’ and the ‘Ramayana’ were not literal translations but thoughtful transcreations shaped by devotional purpose. He conveyed not only meaning but also cultural tone, emotion, and imagery, adapting the texts to the language, landscape, and social life of Assam. The spiritual values of marginalised communities were affirmed in the adaptation. By reshaping the scriptures in this way, Sankardeva made bhakti inclusive and accessible to all ensuring that devotion transcended social divisions and spoke directly to the lived experiences of the people.

Devotional Songs[edit | edit source]

Sankardeva’s musical compositions were orientated towards Vishnu and Krishna Bhakti. Among these, a special group of sacred compositions known as ‘Borgeet’ continues to hold a central place in Assamese religious and cultural life. Sankardeva also composed Bhatima, devotional verses written for worship, drama, and royal occasions, reflecting his ability to adapt devotion to different social contexts. (Wikipedia contributors. n.d.)

Borgeet[edit | edit source]

Composed by Srimanta Sankardeva and Madhavdeva, Borgeets are sacred lyrical songs of the 15th and 16th centuries written in the Brajavali language. Though they are set to specific ragas but are not strictly bound to tala. These songs are an integral part of prayer services in Sattras and Namghars associated with Ekasarana Dharma and express deep devotional emotions rooted in bhakti.

The first Borgeet was composed by Sankardeva in 1488 during his pilgrimage to Badrikashram. Although he is believed to have composed around 240 Borgeets, most were lost in fire leaving only 34 that survived through oral preservation. Sankardeva stopped writing Borgeets after this loss. Madhavdeva later wrote more than 200, most of which were about child Krishna. Structurally, Borgeets follow the pada form, with a recurring refrain called dhrung, and they often mention the poet’s name in the final verse.

Musically, Borgeets are closer to the Dhrupad tradition and follow the Prabandhan Gana system. Raga diya, a fixed form of alap using divine names, precedes the singing. Traditionally, Borgeets are performed without rhythm, though talas are used in congregational settings. Over time, Borgeets have ileft a lasting influence in Assamese culture and modern music, with performances by notable artists and adaptations in films and orchestral compositions, while preserving the spiritual essence.

A verse from one of his famous borgeets reads

‘গোপালে কি গতি কৈলে, গোবিন্দে কিমতি দিলে

নাথ হে বিফলে বয়স সব গেলৰে।।

‘Gopale ki goti koile, Govinde kimati dile

Nath he bifle, boyos sab gelare.’

Meaning:  The verse expresses deep devotion to Lord Krishna (Gopal/Govinda). It means: "What use is there if Gopal (Krishna) did not grant salvation, and what value is there if Govinda did not bestow grace? O Lord, without your blessings, all my years have passed in vain."

Bhatima[edit | edit source]

Bhatima is a set of devotional and ceremonial songs composed by Srimanta Sankardeva.

  • Deva Bhatima praises God and is sung in religious contexts.
  • Naat Bhatima is used in Ankia Nat dramas.
  • Raja Bhatima consists of songs praising King Nara Narayan, reflecting loyalty and gratitude toward the ruler.

Ankia Nat: Sankardev’s One-Act Plays[edit | edit source]

A pioneer of Ankia Nat, one-act drama, Srimanta Sankardev combined dance, music and devotion in his plays which also featured a sutradhar or narrator. He incorporated theatrical elements like masks to keep the audience engaged. Though the text is lost, one of the earliest open-air theatrical performances is the Cihna Yatra. These innovations influenced later global theatre practices and remain an important part of Assamese cultural heritage.

Cihna-Yatra[edit | edit source]

The Cihna yatra, one of Sankardeva’s earliest contributions depicts scenes from the life of Lord Krishna and childhood exploits in a poetic and artistic manner. This is considered as an early form of religious drama and a precursor to Assamese theatrical traditions.

Cihna combined various symbolic representations and narration to share spiritual stories and inspire devotion for Lord Krishna. Sankardev used visual art and performance to portray complex ideas in simple form for the largely non-literate audience. Cihna-yatra insipired Sankadeva to work on further theatrical traditions like Bhaona and Ankia Naat which became integral to Assamese culture.

Other Notable Works include:

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

Sattriya Dance and Vrindavani Vastra: Sankardev’s Artistic Legacy[edit | edit source]

Besides transforming devotional literature and theatre, Srimanta Sankardea enriched Indian classical arts as well. He is noted to conceive and develop Sattriya dance a devotional performance form preserved for centuries in the sattras of Assam. Initially performed as a medium of religious expression, Sattriya combines intricate movements, storytelling, and music to convey spiritual themes. Today, it is recognised as one of India’s eight classical dance forms, and some devout followers refer to it as a Sankari dance in his honour.

The Vrindavani Vastra, commisioned by Koch king Naranarayan a monumental tapestry measuring 120 by 60 cubits, exemplifies Sankardev's creativity in the visual arts. Led by Mathuradas Burha Aata in Barpeta and woven by twelve master weavers, this masterpiece illustrates the lila of Lord Krishna with detailed embroidery symbolises strorytellingg through textile art. While parts of the Vastra survive in Paris and London, it reflects Sankardev’s ability to merge spirituality, art, and pedagogy in lasting cultural forms. (Wikipedia contributors. n.d.)

Legacy[edit | edit source]

Sankardev’s legacy lives through this literary works even today as people still recite his verses and perform his plays in community gatherings and Namghars. The significance of these texts is evident in the fact manuscripts like the Kirtan Ghosha are still preserved even in national archives.

The enduring significance of these texts is evident in their survival in manuscript form and their inclusion in educational and devotional practices.

References

Barpeta Satra. (n.d.). About Srimanta Sankardeva. Barpeta Satra. https://barpetasatra.org/about-srimanta-sankardeva/srimanta-sankardev/

Wikipedia contributors. (n.d.). Kirtan Ghosha. Wikipedia. Retrieved February 9, 2026, from https://en.wikipedia.org/wiki/Kirtan_Ghosha

Borah, A. (Ed.). (1950). Rukmini-haran-nat (2nd ed.). Internet Archive. https://dn720004.ca.archive.org/0/items/dli.calcutta.10805/cu_pub1076.pdf

Wikipedia contributors. (n.d.). Sankardev. Wikipedia. Retrieved February 9, 2026, from https://en.wikipedia.org/wiki/Sankardev

Wikipedia contributors. (n.d.). Borgeet. Wikipedia. Retrieved February 9, 2026, from https://en.wikipedia.org/wiki/Borgeet

Wikipedia contributors. (n.d.). Gunamala. Wikipedia. Retrieved February 9, 2026, from https://en.wikipedia.org/wiki/Gunamala

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