Chapter 2: Satra and Naamghar of Assam
2.6 Structure of Naamghar
Fig. 2.18: Bhaona performance in Naamghar (Sonowal, 2017)
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temples all over the country and had seen the beautiful and massive temples all over the country and massive temple architectures of brick and stone in different parts of the country chose only a two-roofed simpler structure (Fig. 2.19) with an apsidal or conical façade.
Fig. 2.19: Naamghar in Barpeta Satra (online sivasagar, 2018)
Sankardeva and the later Vaishnava apostles did not prefer constructing permanent structures of Naamghar and residencies possibly due to unfavorable surroundings and other exigencies. And the basic simplicity connected with their faith must have also prompted them to avoid gorgeous structures either in the Naamghar or in the residence. Later too, the Vaishnava preachers did not built permanent structure for a Naamghar or even for the residential quarters of the monks in any of the Satra and hence no structure is available at present earlier than the 18th century.
Furthermore, in the earlier years, Srimanta Sankardeva and Madhavdeva or their immediate followers had mostly to depend upon themselves for all works including the construction of Naamghar or huts for living. They never asked for any royal favour even when they could have, for constructing a brick or stone Naamghar. Wood and bamboo being abundant and carpentry an easy craft for acquisition, the devotees and monks themselves most of the time could construct Kirtanghars or residential huts with magnificent artistry. The fact that a similar wood and bamboo structure could be built by the devotees and monks through community being more or less an expert, may contribute his expertise in the completion of the work, was only possibly one of the reasons which inspired Sankardeva to choose such a simple architecture for the Naamghar.
Fig. 2.20: Manikut in Bharali Namghar at Jakhalabandha (All resource, 2018)
The Kirtanghar or the Naamghar is the most distinctive feat of Vaishnavite architecture. It is huge structure, the roof is supported on huge wooden pillars and the great floor space is entirely bare save for one or two lecterns on which the scared writings are reposing. Perpendicular to the main hall of the Naamghar is constructed another smaller hall (its length is commonly equal to the breadth of the Naamghar). This small hall known as jewels hut having the Manikut (Fig. 2.20) is the sanctum sanctorum. While this hall, like the main hall also is normally a two sloped gabled structure in central and upper Assam.
But the Manikut in Kamrup, Nalbari and Barpeta districts including those of the Barpeta group of Satras are mostly known as Bhajghars, which are barrel vaulted (hastiprastha) with drooping ends so much so that the side ends of the Barpeta Satra Bhajghar come almost to the ground. A remarkable feature of the construction of the Barpeta Satra is the seven terraces in between the low ceiling and the central part of the roof. These terraces are meant to contain the rare properties and implements not ordinarily required.
Fig. 2.21: Wooden pillars in Satra of Majuli (Tales from the Northeast of India, 2015)
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In addition to the two colonnades of large wooden pillars (Fig. 2.21) supporting the big hall, two columns of shorter and thinner posts (wooden or bamboo) are placed at the side which are joined within by a third semi circularly placed row if there is an apsidal facade or by a straight now if the façade is conical with a simple roof. The space between the main pillars and the second row of posts provides the aisles and sometimes the verandahs also. Every pair of the large pairs supported with a strong and straight timber beam. Each beam in its turn held three other upright posts (the middle one being the longest) thus helping to form a ridge at the top. The pillars, the beams and also the up staid posts are often carved or painted with colourful floral designs and mythical animal figures.
Most of the roofs of the earlier Naamghar in large numbers of Satras were covered with thatch.
The Katha-Guru-Carita (Sarma, 2017) gives a vivid description of the construction of the Barpeta Satra Kirtanghar. Madhavdeva agreed to construct the Barpeta Kirtanghar as desired by Narayana Thakura, the arrangements were made by the devotees. “Timber was obtained from the very site selected for the temple. Parbatiya Krushna Rama Karikar and Vibhisana- these three of Madhavdeva’s disciples offered their service as carpenters.
They also built a simhasana or holy throne for the Kirtanghar. Bamboos were brought from Bajali pargana. The stronger once were split and whose culm were kept under water for some time in order to give them durability and were then dyed red. The posts, the cross beams and the horizontal poles along the whole length of the house were set. The red dyed culm were then spread over to form the roof, which was covered with thatch all over and with wicker-work frames (parvati) at the ridges and edges. Walls were then set up with bamboo and wood, windows (kundraksajala) being left in proper places. The posts and walls were studded with mica (bali-chanda) and tin foils (rang pata). The adhesive substance used for sticking these glittering objects was obtained from ripe bilva (wood apple) fruits. Chalk (kharimati) was used for decorating the posts and walls. Vibhisana and Krishna, the carpenters made floral designs (lata-phul) on the main gateway (pat-dvar) and two wooden representations of Jay and Vijaya, the gatekeepers of Vaikuntha. The Kirtanghar thus presented a magnificent and colourful view and was therefore called rangali or ‘Rangiyal ghar’.
What Srimanta Sankardeva conceived in the planning of the Naamghar was a large and open space with free air flowing from outside where people can sit and take part in the congregational prayer sessions (Kirtan), perform Bhaona (theatrical performances) which again could be enjoyed freely by people sitting and standing outside the Naamghar
premises. Dividing space between the pairs of the main pillars as compartments or rooms without any wall or curtain in between is also a significant aspect of the Naamghar architecture.” There are also grilling’s or temporary walls made of cane and bamboo in many of the Satra Naamghar hung or attached around the outer periphery of the aisles or verandahs. They act like extended pandal or shades and are easily removable when there is a Bhaona performance or any festive occasion to accommodate hundreds of people outside the main hall. In devising the architecture of the Naamghar, Srimanta Sankardeva was quite possibly inspired by the two roofed, gabled hall type residential huts of many of the tribal people of Assam, which also provide an open and airy space and elevated it to the level of a rich temple architecture.
Over the period of time the Naamghar have undergone substantial change like the wooden pillars and thatched roofs have given way to concrete pillars and iron sheets in most of the Satra and village Naamghar. Each Manikut and the main halls of many Naamghar are now constructed with gorgeous domes in the pattern of common Hindu temples. The lion carved on wood, which once decorated the arches are now substituted with common lion figures in concrete structures. Even the principal Satra like Bordowa and Barpeta also have not been able to retain many of such significant traditional traits of original Vaishnavite sculpture and architecture.