Research Methodology
Chapter 4: Data Collection
4.4 Design Elements of Naamghar: Visual Data collection from selected Satra/Naamghar
4.4.10 Art and Craft of Naamghar
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Fig. 4.34: Artistic work and artisans in Satra of Majuli Island (Photograph: Researcher)
It was in the Naamghar at Barpeta that Madhavdeva covered the side walls with
‘Kundraksha jaala’ perhaps meaning wooden beaded lattice-work. It is mentioned further in the Katha- Guru-Charit that the openings had coloured mica sheets, shedding colored light in the dim interior. It was like the stained glass of Gothic Churches. Other Vaishnavite shrines in India like Sri Nath ji have painted backdrops to the shrines. In Assam, although according to records, Sankardeva did create painted backdrops for his first drama (Chinha-Yatra), the feature was not adopted in Naamghars, perhaps due to the humid weather conditions in the region.
Later part of the Vaishnava art and crafts involved metal works as well as cement mortal to create ornamentation in Naamghar (fig. 4.35).
Fig. 4.35: Metal and Cement mortar relief work in Naamghar (Photograph: Researcher)
(ii) Carved Roof Truss, Carved Singhasana
In Barpeta while constructing one of the initial Prayer halls, Madhavdeva initiated the varieties of art. The Pillars, the Singhasan of the Kirtanghar, the wooden images of Garuda and Hanuman, the beams and uprights supporting the roof were carved beautifully as per his instructions and wooden doors and wall-panels were painted with themes from the Bhagawat Purana. The ten incarnations of Vishnu form the common theme in most Naamghars for paintings inside the door-panels. This later became the norm for village Naamghars too.
“There is frequent carving on the beams and cross beams of Naamghars, which are covered with figures of deities and conventional flowers and creepers (fig. 4.36). In some Naamghars the posts are chamfered or fluted into polygonal or circular shapes and crowned by carved capitals resembling the lotus or the fruit called by the Assamese kordoi tenga (Averrhoa carambola)”.
(a) (b) (c) (d) Fig. 4.36: Wooden pillars in Naamghar (Photograph: Researcher)
It is believed that every individual of the Vaishnavite society surrounding a Satra or the Satra where he is initiated, should contribute his might in whichever way he can, to share piety. And thus a collective consciousness was created among the Khanikars to decorate the Satras and the Naamghar so as to make it look like Heaven (Vaikuntha samasara) at least with a piece of work of their own hands. As a result of such a consciousness working vigorously in the popular mind most of the Satras and even many of the village’s Naamghars with the gifts of painted manuscripts, or other manuscripts, wooden sculptures and other bamboo, cane and metal art objects became museums of art and sculpture.
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The wood carvings in which the Satras flourished mostly include arches, door frames (Fig. 4.37), holy thrones of lions, Garuda and peacocks, icons of Vishnu and his various incarnations, images of Krishna and panels of his childhood playfulness, floral designs carved on posts, beams of Naamghars (lai khuta, phulcoti), Xorais or trays, thoga or lecterns etc.
Fig. 4.37: Variety of doors in Naamghar (Photograph: Researcher)
Besides these, the images of deities, standing figures of dwarapals (gate keepers) kneeling figures with folded hands like Garuda, Hanuman, Jay Vijaya, Chari-siddhas (the four wise men) adom in the entrance of the Naamghars or Manikutas of the Satras.
Garuda being the carrier of Lord Vihsnu is always held in regard by the Assamese Vaishnavas. He could perhaps be interpreted as the symbol of the selfless devotion and extreme humility as inherent in Assam’s Vaishnavism. Garuda is carved (as half vulture and half man, having either a long bill or a sharp nose, two wings, two hands and two legs with peculiar shaped feet which to some extent resemble the talons of a bird), In addition to exhibiting him at the entrance he also figures on the right of the Simhasana with a conch in his right hand and a half-devoured serpent on the left, and sometimes he is shown with the image of Vishnu seating on him. On the other hand Hanuman, the giant monkey who assisted Rama in invading Lanka and rescuing Sita is represented almost like a man.
Likewise Jay and Vijaya and attendants of Vishnu who are also held in great veneration by the Assamese Vaishnavas, are shown as wearing carved crowns on the head and rosaries round their necks. They are sometimes painted black or dark blue. These two figures are sometimes carved in deep relief on the entrance door.
The mythical serpent king Ananta, who is ridden by Vishnu and regarded as the animal on which the world rests, also finds a prominent place inside the Naamghars.
Besides these mythical figures, there are also carved animal figures of lions, tigers, monkeys, birds, and horses etc. which are exhibited as decorative pieces appearing in the
relief panels. Mention must also be made of another beautiful carved object i.e. the thogi or lectern. “The pedestal is formed by a turtle, a peacock, an elephant and a lion, one above the other in the order named, surmounted by a staff which supports the desk. In some thogis the peacock is omitted.”
Through the spirit and ethos of Assam Vaishnavism was the inspiration behind the flourishing of such a craft tradition, the style of these art objects extended to secular works also. Such works include figures tiger hunting, elephant fight, horse fight and buffalo fight in Bardowa Satra, human figures and floral decorations and figures of animals.
The Majuli Gosains have boats, the prows of which terminate in elaborately carved magars. Moreover, carved articles of furniture such as the paleng, and the salpira being bedsteads also were decorated with floral designs. Piras were (low stools – a very common furniture in every Assamese house hold), Barpeta (a big wooden chest in the bedrooms of the houses used for keeping ornaments, brass and bell metal utensils, bamboo baskets filled with cloths etc.)
Karani (karnadika- a small wooden open trunk resting on four legs, each adorned with carvings of floral designs or figures of birds like parrots used as a wardrobe in the household or for keeping sacred articles like rosaries, scriptures or even deities in the Naamghars and Manikutas), are also carved with similar designs. Similarly spinning, weaving and embroidering implements like shuttle (makoe), pully (nachanee), spinning wheel (cereki) etc. are also generally ornamented with foliage, floral and animal carvings.
Carving was even extended for producing scenic beauty or effects in the spectacular parts of the bhaona performances in Assam.
The agni gad or lamp-brackets used at the beginning of a bhaona is also decorated with foliage. The wooden simhasanas (in some Satras they are inlaid with copper, gold and silver) consisting of one to seven tires with four to thirty two mane less lions, standing on elephants, painted and decorated with various designs is the most exquisite and classical work of Vaishnavite art combining painting, sculpture as well as architecture in its total design. But it is at the same time a very common work adorning every Naamghar and Manikuta of every Satra or village. The holy throne (Manikut) is covered at the uppermost tier with a wooden box (amahi-ghar) with an opening towards the front side and the upper and being pointed towards the top sacred scriptures like the Bhagawat as the object of supreme veneration symbolizing the deity is kept inside the box.
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A Simhasanas of a bigger size with beautiful carvings (Fig. 4.38), ornamentations and painting of floral design, figures of Vishnu’s incarnations in an imposing phenomenon in a Naamghar Manikut attracting attention of everybody who passes by it.
Fig.4.38: Seven level Manikut in Barpeta Naamghar (Photograph: Researcher)
It is difficult to describe the source, which inspired Sankardeva to devise this wonderful work of art as the seat of religious prayer and devotion. But it is perhaps not difficult to imagine that Sankardeva made it a matter of more significance than installing a simple idol of Lord Vishnu or Krishna in order to infuse into the popular mind the vision that the religious pursuit is also a pursuit of art.
One is continuously integrated with classicist philosophy of Indian religion one more distinctive feature of the satriya wood carving is the presence of the figures of flying lion, magara or sea monster with the head of a crocodile and the tail of a fish in addition to Garuda, mayura (peacock) and harsha (goose) about which we have already mentioned.
Among these the flying lion, the magara and even the Garuda remind us of the dragon like figure common with the Garuda remind us of the dragon like figure with the Mongoloid art tradition.
The flying lion and the magara symbolize greatness and energy, the Garuda and the mayura both being snake hunters symbolyse the destroyers of pride whereas the hansa stands for wisdom. Thus all of them finally are revelations of various facets of omnipotent God. By using the magara in the door frames and the arches a tremendous source of energy has been harnessed to rhythm and artistic beauty which again inspires in the realization of rasa and bhava. It may be remembered that the magara is found to be
profiled in Vaishnavite literature always due to its artistic form and beauty. Primitive simplicity of folk art both in terms of material and style is revealed in the flat profiles of the face and nose of the figures with fat and heavy body structures.
In the simhhasana the mane less lion is always found as the killer of the elephant, which symbolises the idea of sin being destroyed by Nama (Name of God).