Eulogizing The Great Master
Anwesa Mahanta
Newer interpretations always find its way in the task of discerning and reviewing a higher ideal. Srimanta Sankaradeva (1449-1568), saint and preacher, poet and playwright, philosopher and reformer, artist and composer (“all rolled into one” as described by Vasudev Saran Agrawal), being the fountainhead of the Bhakti resurgence in Assam, is such a colossus. The magnanimous contributions by this great saint poet stand as a prism that reflects shades of newer horizons of thoughts providing thereby various scopes of insights on Vaisnava Renaissance in Assam. Be it in the field of social reformation, or in creating a new range of literary compositions or even in introducing a different interpretative medium of human expression, theatre, music and dance, the composer, splendidly left an indelible print of creative excellence. Indeed he has remained a ‘Master’ who brought a new change of direction in the society and elevated the life of the common man to a higher spiritual realm through his idealistic concept of humanity and unveiled ways of civilizational progression which hyped the chapter of Assam’s cultural history.
Through the last decades, many individuals in their attempt to understand this colossal figure and his voluminous works have stepped forward with their own interpretative and definitional constructs. Several publishing houses have also provided opportunities by printing those expressional gestures in words. And this process of learning, understanding, exploring and expressing continues unswervingly. Dayananda Pathak’s Srimanta Sankaradeva: The Great Master (2009), is such an effort. Published by the Chandra Prakash, Guwahati, the book gives a good introduction to the saint poet Srimanta Sankaradeva and his philosophy of Bhakti Faith. It highlights in a nutshell the creative genius’ contributions in reforming the psyche of Northeastern people who were drowned in illogical faiths and practices in the name of religion.
The book has nine chapters, each dealing with various phases of life and personality of the saint poet. While the Introduction brings to the fore a basic outline of Sankaradeva’s beliefs, ideas and preachings, propagation of ideals of communal harmony, brotherhood and peace with a Pan- Indian context of other religious beliefs and ideals, like Sufism etc, the second and third chapters undertake political and religious atmospheres of the period. The chapters provide good historical accounts of the ruling dynasties both political and religious in the form of Chutiyas, Ahoms, Kacharis, Koches and Buddhism, Islam, Sakta, Saivism, indigenous systems of faiths etc respectively. Basically it gives a glimpse of the situational grounds which ‘the Master’ had to confront. Sankaradeva tried to bring unity amidst diversity and showed them the way of individual association with the Lord which threatened the absurdities of Brahmanical practices. However an elaborate analysis of the saint poet’s contribution in changing the socio-religious and cultural scenario with his egalitarian and humanistic principles or his diligent efforts in dealing with the governing political and religious forces, his concept of the Sattra Institution as an alternate ground of socio-religious equity which brought the Neo-Vaisnava ideals and Bhagavata religion to the common doorstep, would have helped further in radiating the luminous artistic brilliance of the master mind. The chapter following this provides a genealogy of the saint and accounts of his family origin and the social role with references from the biographical narratives. Chapter V titled Birth to Childhood to Manhood dwells upon the growth of the child prodigy; indications of greatness are figured out by the author by referring to certain anecdotal incidents. The chapter also shares the relation of the ‘master’ with Ahom and Koch kingdoms and highlights his works during the reign of these political forces. Although instances and accounts have been cited by the author throughout the book, this reader missed emphatically the much expected notes and references including the bibliographical assistance for better appreciation of the text in context.
Preacher Playwright is the next chapter, and here, the author highlights Sankaradeva’s design of Ankia Bhaona. The author puts it in the backdrop of Sanskrit theatre with a reference to ancient treatise like Natyasastra, and features the unique traits of Ankia Bhaona, with an illustration of the role of Sutradhara, the linguistic aspects etc. A brief summary of the thematic concerns of the Ankia Nat was provided albeit a further introspection on the stage designing, namghar as a theatre house and a meeting ground of people of diverse sections, community participation in performance, power of performance in bringing spatial and temporal transformation and most importantly, a study of text in performance context would have given a wider understanding of his artistic brilliance. The next chapters concentrate on a descriptive analysis of Borgeets, i.e., the doxologies, the lyrical and the poetic compositions of Kirtanghosa, Dasam and other literary masterstrokes. The chapters delve both into the performatic renditions of the doxologies and a thematic content of the lyrical renditions and translation works. Although a detailed exploration of both the literary and performatic renditions by the author would have enhanced the scope of better comprehension, nonetheless a new learner is facilitated with a good introduction into the field of Sankaradeva Studies. The author also in clear terms has mentioned in the personal note that the book is meant for the common readers and hence a scholarly approach is avoided. However, there is never an end of higher reading of the immortal works of the great saints and the insatiable thirst of human knowledge expects to a greater extent, more interpretations and re-interpretations and speculations of creative constructs, be it literature, performance or any other form of human expressions. But unfortunately, sufficient amount of research has not yet been undertaken and the concluding chapter of the book, Postcript tries to reveal the depressing situation of the present academia or even amidst the youth dilettanti who have not been pursuing the necessary works regarding the Sankaradeva Studies. Nevertheless, books like this, would help people to understand in simplistic terms the ideologies of the Vaisnava Movement in Assam and the saint poet’s creative outputs which would generate more interest amongst the masses and help them traverse a course of detailed exploration, of this glorious chapter of Indian cultural heritage.
Anwesa Mahanta
Newer interpretations always find its way in the task of discerning and reviewing a higher ideal. Srimanta Sankaradeva (1449-1568), saint and preacher, poet and playwright, philosopher and reformer, artist and composer (“all rolled into one” as described by Vasudev Saran Agrawal), being the fountainhead of the Bhakti resurgence in Assam, is such a colossus. The magnanimous contributions by this great saint poet stand as a prism that reflects shades of newer horizons of thoughts providing thereby various scopes of insights on Vaisnava Renaissance in Assam. Be it in the field of social reformation, or in creating a new range of literary compositions or even in introducing a different interpretative medium of human expression, theatre, music and dance, the composer, splendidly left an indelible print of creative excellence. Indeed he has remained a ‘Master’ who brought a new change of direction in the society and elevated the life of the common man to a higher spiritual realm through his idealistic concept of humanity and unveiled ways of civilizational progression which hyped the chapter of Assam’s cultural history.
Through the last decades, many individuals in their attempt to understand this colossal figure and his voluminous works have stepped forward with their own interpretative and definitional constructs. Several publishing houses have also provided opportunities by printing those expressional gestures in words. And this process of learning, understanding, exploring and expressing continues unswervingly. Dayananda Pathak’s Srimanta Sankaradeva: The Great Master (2009), is such an effort. Published by the Chandra Prakash, Guwahati, the book gives a good introduction to the saint poet Srimanta Sankaradeva and his philosophy of Bhakti Faith. It highlights in a nutshell the creative genius’ contributions in reforming the psyche of Northeastern people who were drowned in illogical faiths and practices in the name of religion.
The book has nine chapters, each dealing with various phases of life and personality of the saint poet. While the Introduction brings to the fore a basic outline of Sankaradeva’s beliefs, ideas and preachings, propagation of ideals of communal harmony, brotherhood and peace with a Pan- Indian context of other religious beliefs and ideals, like Sufism etc, the second and third chapters undertake political and religious atmospheres of the period. The chapters provide good historical accounts of the ruling dynasties both political and religious in the form of Chutiyas, Ahoms, Kacharis, Koches and Buddhism, Islam, Sakta, Saivism, indigenous systems of faiths etc respectively. Basically it gives a glimpse of the situational grounds which ‘the Master’ had to confront. Sankaradeva tried to bring unity amidst diversity and showed them the way of individual association with the Lord which threatened the absurdities of Brahmanical practices. However an elaborate analysis of the saint poet’s contribution in changing the socio-religious and cultural scenario with his egalitarian and humanistic principles or his diligent efforts in dealing with the governing political and religious forces, his concept of the Sattra Institution as an alternate ground of socio-religious equity which brought the Neo-Vaisnava ideals and Bhagavata religion to the common doorstep, would have helped further in radiating the luminous artistic brilliance of the master mind. The chapter following this provides a genealogy of the saint and accounts of his family origin and the social role with references from the biographical narratives. Chapter V titled Birth to Childhood to Manhood dwells upon the growth of the child prodigy; indications of greatness are figured out by the author by referring to certain anecdotal incidents. The chapter also shares the relation of the ‘master’ with Ahom and Koch kingdoms and highlights his works during the reign of these political forces. Although instances and accounts have been cited by the author throughout the book, this reader missed emphatically the much expected notes and references including the bibliographical assistance for better appreciation of the text in context.
Preacher Playwright is the next chapter, and here, the author highlights Sankaradeva’s design of Ankia Bhaona. The author puts it in the backdrop of Sanskrit theatre with a reference to ancient treatise like Natyasastra, and features the unique traits of Ankia Bhaona, with an illustration of the role of Sutradhara, the linguistic aspects etc. A brief summary of the thematic concerns of the Ankia Nat was provided albeit a further introspection on the stage designing, namghar as a theatre house and a meeting ground of people of diverse sections, community participation in performance, power of performance in bringing spatial and temporal transformation and most importantly, a study of text in performance context would have given a wider understanding of his artistic brilliance. The next chapters concentrate on a descriptive analysis of Borgeets, i.e., the doxologies, the lyrical and the poetic compositions of Kirtanghosa, Dasam and other literary masterstrokes. The chapters delve both into the performatic renditions of the doxologies and a thematic content of the lyrical renditions and translation works. Although a detailed exploration of both the literary and performatic renditions by the author would have enhanced the scope of better comprehension, nonetheless a new learner is facilitated with a good introduction into the field of Sankaradeva Studies. The author also in clear terms has mentioned in the personal note that the book is meant for the common readers and hence a scholarly approach is avoided. However, there is never an end of higher reading of the immortal works of the great saints and the insatiable thirst of human knowledge expects to a greater extent, more interpretations and re-interpretations and speculations of creative constructs, be it literature, performance or any other form of human expressions. But unfortunately, sufficient amount of research has not yet been undertaken and the concluding chapter of the book, Postcript tries to reveal the depressing situation of the present academia or even amidst the youth dilettanti who have not been pursuing the necessary works regarding the Sankaradeva Studies. Nevertheless, books like this, would help people to understand in simplistic terms the ideologies of the Vaisnava Movement in Assam and the saint poet’s creative outputs which would generate more interest amongst the masses and help them traverse a course of detailed exploration, of this glorious chapter of Indian cultural heritage.
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