BARPETA SATRA

INTRODUCTION

The Ek Sharan Nam Dharma, established by Srimanta Sankardev, advocates achieving oneness with God primarily through Shravan Kirtan, the hearing and singing of God's glorious deeds. This doctrine, propagated by Sankardev and Madhavdev, asserts that salvation can be attained solely through the chanting of Hari or Lord Krishna's name and his divine actions. According to their creative works, the Bhagavata is considered the divine tree of Baikuntha, with Hari's name being its most sacred fruit. Barpeta Satra, since its inception, has maintained an uninterrupted tradition of Hari-prasanga, or prayer to Hari.

DAILY PRAYERS

MORNING PRAYERS:

1. Morning Song: Two Borgeets by Sankardev or Madhavdev, in the ragas Shyam, Aahir, Kou, or Lalit.

2. Morning Hymns: Singing of "Pratax Xamaye Jaxowa Janani" based on Raga Aahir.

3. Prasanga (Nam-Kirtan): Devotees perform Nam-Kirtan, chanting two chapters from Namchanda and Saranchanda, along with two verses from the Kirtan-ghosha.

4. The Bhagavata: Reading and analysis of the 10th canto of the Bhagavata or the Geeta.

5. Paath (Recitation): Recitation of a set number of verses from 15 holy books, including Harischandra Upakhyan and the Bhagavata.

AFTERNOON PRAYER:

1. Paath (Recitation): Includes Naamghosha, Bhakti-Ratnawali, Bhakti-Ratnakar, Nam-Malika, Bhakti-Pradeep, Janma Rahasya, Borgeet, and songs from Ankiya play or Jhumura.

2. Prasanga (Prayer): Nam-Kirtan by reading a chapter of Namchanda.

3. The Bhagavata: Reading two shlokas from either the Bhagavat or the Geeta.

NIGHT PRAYER:

1. Gunamala: Singing of two verses from Srimanta Sankardev's "Gunamala."

2.Leelamala: Singing of two verses describing Lord Krishna's wonderful deeds.

3.Bhatima (Hymn): Singing of hymns, particularly guru bhatimas glorifying Sankardev and Madhavdev.

4.Sewar Kirtan: Performance of two Borgeets with a musical prelude in honor of the Gurus.

5.Prasanga (Prayer): Singing of one jugal of Namchanda and Saranchanda.

6. Paath (Recitation): Recitation of the holy books read in the morning prayer.

OCCASIONAL PRAYERS: Occasional prayers encompass additional performances or rituals conducted during specific Tithis (birth or death anniversaries of saints) or festivals, where modifications, expansions, additions, or omissions are made to the daily fourteen prasangas or prayers in the Satra. These performances or prayers include:

1. Musical Prelude Honoring the Gurus: A harmonious prelude paying homage to revered spiritual teachers.

2. Ghosha-Kirtan: Collective devotional singing, resonating with spiritual fervor and unity.

3. Byash Kirtan: Elaborate Kirtan performances, characterized by intricate melodies and lyrical depth.

4. Ankiya Play: The enactment of religious narratives and moral tales through theatrical performances, offering both entertainment and spiritual teachings.

5. Geetor Pala (Musical Performance Section): A segment dedicated to musical performances, showcasing the rich cultural heritage and spiritual essence through melodious renditions.

6. Dhemali and More: Additional components such as Dhemali, and other sacred practices, further enrich the tapestry of occasional prayers, fostering a deeper connection with divinity and community.

These diverse elements collectively form the fabric of occasional prayers, serving as profound expressions of devotion, artistic expression, and cultural preservation within the Satra tradition.

Establishment of Barpeta Satra

Mahapurusha Madhavdeva founded Barpeta Sattra in the year 1583 AD (Shakabda 1505). Following the passing of his Guru, Srimanta Sankaradeva, Madhavdeva relocated to Sundaridia, a village northeast of Barpeta Sattra. There, he dedicated fourteen years to propagating the Vaishnavite religion. Disheartened by mistreatment of his devotees, Madhavdeva moved to Barpeta with the assistance of Mathura Das Burha Aata. Enthralled by the serene surroundings, he composed devotional songs and established the first Kirtan Ghar in 1583 AD. Later, he transformed his place of worship into a Rangial Griha, a cultural complex aimed at drawing people towards the path illuminated by Srimanta Sankaradeva through dance, song, and drama. Supported by devotees like Narayan Das Thakur Ata and Bar Bishnu Ata, this complex became a hub for religious propagation and fine arts, fostering the Sattriya culture.

This narrative underscores the resilience and dedication of Mahapurusha Madhavdeva in establishing a spiritual and cultural beacon in Barpeta, which continues to inspire and enrich generations.

Arrival of Srimanta Sankaradeva at Barpeta

Srimanta Sankaradeva, the venerated proponent of the Eka Sharana Nama Dharma and the pioneer of Assamese nationalism, culture, and literature, was born in 1449 AD (1371 Shakabda) at Alipukhuri in middle Assam. Following his education, he embarked on a mission to spread the ideology of Vaishnavism and advocate for social reform, accompanied by numerous devotees and disciples. This mission received a significant boost when the erudite Mahapurusha Madhavdeva joined forces with Srimanta Sankaradeva in 1522 AD (1444 Shakabda) at Dhuwahata, a collaboration known as 'Manikanchan Sanjog'.

Encountering various political and social obstacles during their mission in upper Assam, including opposition from Brahmin priests and the lack of support from the Ahom royal authority, the duo decided to leave the Ahom kingdom. In 1540 AD (1462 Shakabda), Srimanta Sankaradeva, along with Madhavdeva and other disciples, clandestinely embarked on a riverine journey to Barpeta. They landed near Barpeta town after navigating through Burhi Lohitya via a tributary of the Brahmaputra, where they encountered initial challenges and setbacks.

At Baradi village, Madhavdeva performed funeral rites for his mother, while Srimanta Sankaradeva halted at Chunpora, devoting himself to spreading the Eka Sharana Nama Dharma. During this time, Bhabananda Saud, later known as Narayan Das Thakur Aata, pledged his allegiance to Srimanta Sankaradeva.

Feeling the environment at Chumpora was unsuitable for sacred activities due to pollution from boatmen, they journeyed southward, first landing at Kumarkuchi before settling in Patbausi in 1542 AD. Srimanta Sankaradeva spent sixteen years in Patbausi, initiating a period of religious, cultural, and literary resurgence.

Meanwhile, Madhavdeva established a Sattra at Gankkuchi, contributing significantly to the spiritual and cultural landscape of the region during his eighteen-year tenure.

KIRTAN GHAR (Prayer Hall)

Festivals and Tithis observed at Barpeta Satra

1. Bohag Bihu: Sangkranti of Chot month to 6th Bohag (+-15 April), Seven Days

2. Birth Ceremony of Sri Sri Madhab Dev: Krishna pratipad in Jeth (+-28 May), Two Days

3. Birth Ceremony of Mathuradas Burha Ata: Shukla Akadashi in Jeth (+-24 May), Two Days

4. Death Ceremony of Bhatowkuchi Keshab Charan Ata: Krishna Soturthi in Aahar (+-17 June), Two Days

5. Disappearance Ceremony of Srimanta Sakar Dev: Shukla Dwitiya in Bhadra (+-10 Sep), Seven Days

6. Disappearance Ceremony of Sri Sri Madhab Dev: Krishna Panchami in Bhadra (+-28 Aug), Ten Days

7. Birth Ceremony of Srikrishna: Krishna Aastami in Bhadra (+-1 Sep), Two Days

8. Death Ceremony of Padma Badala Ata: Shukla Akadashi in Bhadra (+-20 Aug), Two Days

9. Birth Ceremony of Srimanta Sankar Dev: Shukla Dashami in Ashwin (+-17 Oct), Two Days

10. Death Ceremony of Mathuradas Burha Ata: Krishna Chaturthi in Ashwin (+-27 Sep), Five Days

11. Death Ceremony of Burha Baloram Ata: Shukla Traiodosi in Kaati (+-20 Oct), One Day

12. Death Ceremony of Narayandas Thakur Ata: Krishna Panchami in Puh (+-24 Dec), Two Days

13. Magh Bihu: Sangkranti of Puh Month to 4th days of Magh (+-15 January), Five Days

14. Death Ceremony of Sri Sriram Ata: Full moon of Magh or Phagun (Feb or March), One Day

15. Death Ceremony of Barbishnu Ata: Shukla Dwetia in Phagun (+-5 March)

16. Doul Jatra or Doul Utsab: Observed during full moon period in Phagun or Chot (+-12 March), Three/Four/Five Days

This concise list highlights the various festivals and Tithis observed at Barpeta Satra throughout the year.

THE MAIN ENTRANCE OF BARPETA SATRA (KARAAPAAT) DAALAAN

Situated prominently at the heart of Barpeta Satra, the Kirtan Ghar stands as a majestic testament to both architectural splendor and spiritual significance. With dimensions echoing the sacred "Brindabani Bastra," presented by the revered Mahapurush Srimanta Sankardev to Maharaja Narayana of the Koch Kingdom, this renowned Kirtan Ghar was meticulously crafted by local artisans in 1952.

Surrounded by three expansive verandahs, or "Kanthis" or "Piralis," on its northern, southern, and western sides, the Kirtan Ghar exudes a sense of grandeur and tranquility. Its main entrance, situated on the western facade, beckons worshippers into its hallowed precincts, while secondary entrances on the northern and eastern sides offer alternate paths of reverence and devotion.

Inside, the Kirtan Ghar unfolds a tapestry of spiritual narratives and divine symbolism. Engraved wooden panels adorning the western wall depict the Dashavatar, the ten incarnations of Lord Vishnu, while panels on the southern and northern walls breathe life into select episodes from the Bhagavata, enriching the spiritual ambiance with profound imagery and storytelling.

Adorning the wooden doors, plated with silver, are images of the twelve Baishnavas, serving as timeless emblems of devotion and reverence. These exquisite works of art stand as testaments to the ingenuity and skill of local artisans, reflecting the enduring legacy of cultural heritage.

Women devotees find solace and spiritual communion in the southern verandah, where they perform their prayers, or "Prasanga," with unwavering devotion.

Aligned with the sacred proportions of the Brindabani Bastra, the interior of the Kirtan Ghar is divided into thirteen compartments, or "Polis" or "Kothalis," each imbued with its own spiritual significance. The space between two main posts, known as "Poli" or "Kothali," serves as a sanctified area for congregational gatherings and individual contemplation.

The Kirtan Ghar boasts a total of thirty-one main posts, including twenty-nine reinforced concrete posts and two revered timber posts, believed by devotees to embody the essence of Tulasi, the sacred basil plant. These timber posts, remnants of a previous structure, stand as poignant reminders of the Satra's enduring legacy and spiritual continuity.

Assigned seating for the Burahsatria, Dekasatria, Bhagawati, and the Pathak can be found in the first Poli on the eastern side, while subsequent Polis house Guru Ashanas, Barsarais, and the sacred Nam Khola, where daily and occasional prayers are offered. The presence of wooden idols of Garuda and Hanuman, alongside ornate Bargachas, exemplifies the craftsmanship and devotion of the Satra's artisans and worshippers.

Remarkably, the present Kirtan Ghar stands as the result of six reconstructions, each testifying to the unwavering dedication and resilience of the Satra's community. From its humble origins in 1583, when Mahapurush Sri Sri Madhabdev first erected the structure using locally available materials, to its modern-day incarnation as a beacon of spiritual pilgrimage and cultural heritage, the Kirtan Ghar remains a cherished center of devotion and enlightenment for visitors of all faiths.

Mahapurush Sri Sri Madhabdev, the revered apostle of Srimanta Sankardev and the esteemed founder of Barpeta Satra, graced its hallowed grounds for a span of approximately eight years. In homage to his profound spiritual presence, a magnificent memorial, the "Math" of Barpeta Satra, now stands tall at the very site where Sri Sri Madhabdev once resided.

This awe-inspiring structure, with a towering height of 14 meters and a spacious diameter of 21 meters, serves as a beacon of reverence and devotion. Adjacent to it, a modest yet significant chamber known as the "Chaighar" finds its place, steeped in legend and lore.

According to ancient tales, Sri Sri Padma Badula Aata, a revered disciple of Sri Sri Madhabdev, was graced with a royal disciple named Dahakarhi, who held the esteemed position of a queen. In adherence to the teachings of her Guru, Queen Dahakarhi commissioned the construction of this splendid "Math" in the distinctive Ahom architectural style. It is believed that the Math, a symbol of her devotion and familial well-being, was erected in the year 1745 Yr. (1667 Sak).

Although dismantled during the lifetime of Kinaram Satria, the Math was reconstructed to preserve its sanctity and significance. Crowned with a "Kalachi," an elongated pinnacle resembling a pitcher, the Math exudes an aura of spiritual sanctity and historical reverence.

Within its sacred confines, devotees venerate the "Padashila," a stone bearing the footprints of Sri Sri Madhabdev, alongside a brass "Garuda Aasan" and a humble wooden stool, known as the "Pira," once utilized by the revered saint. Daily prayers, or "Prasanga," are offered morning and evening, while traditional lamps illuminate the sacred space, casting a warm glow of devotion and piety.

The courtyard, adorned with smooth stone plates, serves as a gathering place for the Satra's members, known as the "Samuha," who convene to deliberate on matters of spiritual and communal importance. Here, amidst the tranquil ambiance of the Math's precincts, the timeless legacy of Mahapurush Sri Sri Madhabdev continues to inspire and guide the faithful on their spiritual journey.

MATH (PAGODA)

Located on the North-West corner of the sacred boundary of Barpeta Satra stands the revered "Doul Griha," a cherished testament to tradition and spiritual celebration. It is said that Sri Sri Mathuradas Burah Aata, the inaugural Satradhikar of Barpeta Satra, pioneered the vibrant celebration of the "Doul festival" imbued with the ideals of Srimanta Sankardev.

Initially, Sri Sri Mathuradas Burah Aata, in collaboration with devout followers, fashioned a modest Doul Griha by creating a raised bed of earth encircled by steps. However, in 1886 (1292 Bhaskarabda), the devoted worshippers of "Pathak Hati" of Barpeta undertook a monumental endeavor, constructing the present splendid Doul Griha at the same revered site. This magnificent structure features seven steps encircling its perimeter, with four doors facing each cardinal direction.

During the iconic Doul festival of Barpeta Satra, the revered idols of "Sri Sri Doul Gobinda" and "Kaliya Thakur" are ceremoniously brought forth from the Manikut and reverently placed within the sanctified confines of the Doul Griha. Throughout this sacred period, devotees of all ages and genders converge to offer their heartfelt obeisance, adorning the atmosphere with the joyful hues of "Phagu," a vibrant colored powder reminiscent of the Holi festival.

The seven steps ascending the impressive height of approximately 15.0 meters are regarded by devotees as symbolic of the divine "Sapta Baikuntha," the celestial abode of Lord Vishnu. Within the embrace of this sacred space, devotees find solace and spiritual communion, forging bonds of devotion and unity that transcend time and earthly confines.

In this convergence of faith and festivity, the Doul Griha of Barpeta Satra stands as a beacon of tradition and spiritual fervor, embodying the timeless legacy and enduring spirit of devotion fostered by the revered Sri Sri Mathuradas Burah Aata and the illustrious lineage of Srimanta Sankardev.

DOUL GRIHA

Adjacent to the southern side of the "Doul Griha" stands the expansive and welcoming "Sabha Ghar," or conference hall, serving as a hub of spiritual discourse and communal gatherings within the sanctified grounds of Barpeta Satra. Situated nearby is the quaint "Jogmohan Ghar," a small temple distinguished by its roofed structure devoid of walls, nestled on the northern corner of the Sabha Ghar.

During the auspicious commencement of the "Doul Utsav," devotees partake in the ceremonial procession around the burning "Meji" alongside "Kalia Gohain," followed by the reverent placement of Kalia Gohain within the Jogmohan Ghar. Subsequently, guided by astronomical calculations and auspicious alignments of the stars, Gohain ascends to the esteemed Doul, marking a sacred transition steeped in tradition and spiritual significance.

Throughout the vibrant festivities of the Doul festival, the Sabha Ghar serves as a dynamic space for regular prayers, the spirited play of "Gurughat," and the soulful performances of "Gosha Kirtan" and "Byah Kirtan." Resplendent with its distinctive Assamese "Sorrai" shape and adorned with a tin roof, the Sabha Ghar bears witness to the devotion and cultural vibrancy fostered by the youth of Ambari Hati, who once erected this cherished edifice.

The hallowed ground upon which the Jogmohan Ghar now stands holds a poignant history, once being the abode ("Baha") of Murari Tanti. It was here that Mahapurush Sri Sri Madhabdev sought refuge from the forces of King Raghudev, finding solace amidst the humble surroundings of Murari Tanti's residence. In commemoration of this sacred connection, disciples of Mahapurush Sri Sri Madhabdev continue to revere the Jogmohan Ghar and Sabha Ghar as holy sanctuaries, honoring the enduring legacy of devotion and spiritual resilience.

In the gentle embrace of these sacred spaces, the echoes of ancient traditions and profound spirituality resound, fostering a sense of reverence and unity among devotees of Barpeta Satra for generations to come.

JOGMOHAN GHAR (SABHA GHAR)

As one approaches the sacred compound of Barpeta Satra from any direction, they will encounter three Baatchoras, or gateway sheds, namely Na-hati, Uttar-hati, and Daksinhati. These Baatchoras mark the entry points into the Satra's precincts, beyond which entry on any form of conveyance is prohibited. This tradition not only emphasizes reverence for the Satra but also ensures the safety of visitors, minimizing the risk of accidents within the premises.

Each Baatchora is adorned with a Toran, or gate, denoting the Mul-toran (main gate), Uttar-toran (northern gate), and Daksin-toran (southern gate) respectively. These Torans serve as symbolic thresholds, ushering devotees into the sacred space of Barpeta Satra. Adorning the sides of each Toran are painted sculptural representations of Jaya and Vijaya, the revered doorkeepers of Vaikuntha, the celestial abode of Lord Vishnu.

A deeply rooted tradition within Barpeta Satra dictates that all visitors remove their shoes before entering the Satra campus, symbolizing humility and respect for the sacred space. This act of reverence underscores the sanctity of the Satra's premises, fostering an atmosphere of purity and devotion.

In preserving these time-honored customs and rituals, Barpeta Satra continues to uphold its legacy as a bastion of spiritual enlightenment and cultural heritage, welcoming devotees from near and far to experience the divine grace and serenity within its hallowed confines.

BAATCHORA OR TORAN

The sanctum of Barpeta Satra, affectionately known as Bhajghar, serves as a sacred repository where revered deities, scriptures, and invaluable treasures are safeguarded. Traditionally attached to the Kirtan Ghar at the eastern end, Bhajghar is revered as the abode of divine grace and spiritual enlightenment.

The distinctive architectural features of Bhajghar include roofs with drooping ends, symbolizing humility and reverence. Divided into two parts, the southern and northern sections, Bhajghar houses a wealth of spiritual artifacts and revered icons.

In the southern part, a sub-division hosts the Syamarai vigrah, also known as Kaliya Thakur, before which the eternal flame of Aksaya-vanti burns perpetually. Legend holds that this idol was brought to the Satra to ward off malevolent influences, a testament to the deep spiritual connections woven into its history.

The installation of the Basudeva vigraha, representing Lord Krishna, is a subject of debate, suggesting it may have been a later addition to the sanctum. Positioned to the south of Syamarai, the Basudeva vigraha shares space within the mandapa, where ancient puthis and sacred texts are preserved with reverence.

The northern portion of Bhajghar boasts two storeys, with the lower level housing a special room containing an underground oil well, locally known as mathai. Legend speaks of this oil well's perpetual fullness, believed to be connected to the subterranean realms, where oil is said to flow incessantly.

Ascending to the upper storey, a secluded chamber holds precious treasures such as handwritten manuscripts by Srimanta Sankardeva and Madhavadeva, alongside ancient coins and cloth artifacts. This chamber remains inaccessible to visitors, entrusted solely to the care of senior monks.

Ghai Deweri, the spiritual leader, oversees religious activities from Bhajghar, symbolizing the sanctity and spiritual centrality of this revered space within Barpeta Satra. In preserving its sacred relics and traditions, Bhajghar stands as a testament to the enduring legacy of faith and devotion cherished by generations of devotees.

BHAJGHAR (MANIKUT =SANCTUM)

The Bhithi of Sri Sri Mathuradas Burha Aata, situated at the northeast corner of Barpeta Satra, holds profound significance as the sacred abode of the esteemed Satradhikar. Revered as "Golak-Baikuntha," this revered space served as the dwelling and administrative center for Sri Sri Mathuradas Burha Aata during his tenure as the first Satradhikar appointed by Mahapurush Sri Sri Madhabdeva.

After rendering dedicated service to Barpeta Satra for an impressive span of 44 years, Sri Sri Mathuradas Burha Aata breathed his last in the year 1641, leaving behind a legacy of spiritual guidance and leadership. In homage to his esteemed memory, devotees from Barhati erected the present building at this sacred Bhithi, adorned with intricately carved portraits depicting religious tales, serving as a testament to his enduring influence and legacy.

Similarly, the Bhithi of Sri Sri Badula Padma Aata, nestled at the southeast corner of Barpeta Satra, holds its own significance as a locus of spiritual learning and enlightenment. Referred to as "Sweta Bilash Baikuntha," this revered site was where Sri Sri Badula Padma Aata resided for a year, immersing himself in the study of Geet-Pada, Nam-Kirtana, Nritya-Badya, and Vaishnavite philosophy under the guidance of Sri Sri Mathuradas Burha Aata.

Following his tutelage under Sri Sri Mathuradas Burha Aata, Sri Sri Badula Padma Aata ventured to Kamalabari in upper Assam, as per the instructions of Mahapurush Sri Sri Madhabdeva, to further his spiritual journey. The present building at the Bhithi of Sri Sri Badula Padma Aata was erected in 1961, through the generous contributions of female devotees (Aaisakal) of Barpeta Satra, showcasing the remarkable craftsmanship of local artisans through intricately carved wooden statues adorning its walls.

These Bhithis stand as enduring symbols of spiritual enlightenment and dedication, commemorating the sacred legacies of revered spiritual leaders and serving as vibrant centers of religious and cultural heritage within the esteemed precincts of Barpeta Satra