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. 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. ^[1]

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

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

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. ^[2]

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.^[1]

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. ^[3]

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

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.

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. ^[6]

Other Works Expressing His Bhakti Philosophy

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

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.

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. ^[5]

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.

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.

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.

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

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

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.

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.

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.

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.[

Other Notable Works

• 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

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.

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. ^[4]

Legacy

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

References

1. https://barpetasatra.org/about-srimanta-sankardeva/srimanta-sankardev/
2. https://en.wikipedia.org/wiki/Kirtan_Ghosha
3. https://dn720004.ca.archive.org/0/items/dli.calcutta.10805/cu_pub1076.pdf
4. https://en.wikipedia.org/wiki/Sankardev
5. https://en.wikipedia.org/wiki/Borgeet
6. https://en.wikipedia.org/wiki/Gunamala