Identification of design elements in Naamghar of Assam

This thesis entitled "Identification of Design Elements in the Naamghars of Assam" submitted in partial fulfillment of the requirements for the Doctorate of Philosophy at the Indian Institute of Technology Guwahati has been carried out under my supervision and is a bonified work of Ms. Charu Monga has fulfilled all the mandatory requirements according to the rules and regulations necessary for the award of the degree of Doctor of Philosophy at the Indian Institute of Technology Guwahati.

DATA ANALYSIS AND INTERPRETATION 177-263

FINDINGS, CONCLUSIONS AND RECOMMENDATIONS 264-276

126 Figure 4.78 Comparison of Pillars of Naamghar in (a) Sarbogh Naamghar Garakhia Gosain Than, 100 years (Rural) (b) Ramdiyar Naamghar, 75 years (Semi-urban) and (c) Zoo Road Naamghar, 18 years (Urban area) . 127 Figure 4.79 Comparison of windows of Naamghar in (a) Sarbogh Naamghar Garakhia Gosain Than, 100 years (Rural) (b) Ramdiyar Naamghar, 75 years (Semi-urban) and (c) Zoo Road Naamghar, 18 years (Urban area) .

Preface

Introduction: Vaishnavism and Naamghar of Assam
Research Context

Relation of design details with Vaishnava sect: Vaishnavism was initiated in Assam in 15th century by Srimata Shankardeva and his disciple Madhavdeva. Due to this

Research justification
Research Gap
Research questions
Location/Foundation
Physical structure and design elements
Relation with society

Problem Statement
Research Aim and objectives of the present study
Method Used
Overview of Research Flow
Research Strategy
Analysis/Inference
Checking and Validation
Scope and limitations
Research contribution and expected outcomes
Outline of the thesis report

Details of the present physical structure (construction, pillars, walls, roof, spatial division and various design elements related to the above (observation of research and discussion). Study of findings and their analysis will lead to understanding of various aspects of Naamghar Institution.

Literature Review

Satra and Naamghar of Assam

Introduction

These are the central core structure of the Satras of Assam (monasteries of the Eka Sarana religion). Thus, it is a place of congregational worship associated with the Eka Sarana religious traditions of Assam.

History of the Region: Assam

Historical linkages and political changes

There was political instability and conflicts as various powers in the region were trying to gain supremacy over various other powers and create political conflicts. Assam in the 15th century showed a very distinct picture of beliefs with didactic nuances and variations in culture, as the majority of the population belonged to non-Aryan tribes with distinct customs and beliefs.

Neo-Vaishnavite Movement in Assam: Preaching of Srimanta Sankardeva

Features of Neo-Vaishnavite Movement
Social dimensions of Neo-Vaishnavism propagated by Srimanta Sankardeva
Emergence of social reforms

श्रीमंत शंकरदेव द्वारा शुरू किया गया 'एक शरण नाम धर्म', एक ईश्वर, 'भगवान कृष्ण-विष्णु' के विश्वास पर केंद्रित था। लेकिन यह ज्ञात है कि श्रीमंत शंकरदेव और माधवदेव दोनों ने 'एक शरण नाम धर्म' समूह में कई भूटिया लोगों को शामिल किया है।

Introduction of Satra Institution and design forms

Neo-Vaishnavite movement and emergence of Satra
Understanding Satra
Integration of dance forms in Satra
Integrating tribal Art forms
Structure of Satra
Art and Artisans in Satra
The organization and the revenue of the Satra
Physical system of Satra
Changes in design of Satra
Connecting people and communities

Most of the cultural activities and performances used to take place only in the Naamghar. Lakshmikantadeva established 'Garamur Satra' and some of the oldest weapons are preserved here like "Bortop" (cannons). There is also tribal influence in the masks worn by some characters of the Ankiya plays.

As there was a similarity with 'Murang-Ghar' of the ethnic group in the state (Das, 2012). They also made many things with bamboo and cane for the construction of the Satra. This was the time when proper growth of the Satra tradition took place and branch Satra emerged (Guha, 1983).

Scholars have briefly discussed about the evolution of the architectural form of Satra and Naamghar (Neog, 1998; Gogoi, 2016) “The Satra in the new areas was equipped with some integral parts like the Bhagawata-griha, sabha-griha, rangialghar , guru-griha atithisala, dhan-bharal, caul-bharal library, patchang, math and other structures where necessary, and the functionaries like the Bhagowati, pathak, medhi, rajmedi, bar-medhi, saytula and pacani are under the head of the Satra appointed to manage the respective branches and departments" (Borah, 2012).

Naamghar: A Brief Understanding .1 Origin of Naamghar

Structure and position in Naamghar
Importance of Sitting position and other elements in Naamghar
Rituals and Functions i) Prayer
The Offering
Naamghar as village parliaments
Cultural Centre

A long copper metal lamp (also called Akhyoy Banti) is kept in front of the wooden shrine. It is a fixed clay drum that sounds twice a day when starting and ending the prayer. The doors of the Naamghar are open to everyone, regardless of which caste or gender one belongs to.

People associated with the Naamghar make collective decisions, such as building something new or renovating the older buildings. The general body of the Naamghar consists of people from the village community itself and more specifically the elders in the community of each house are directly involved in the committee. The enormous masks are usually tied to the performer's body with ropes.

According to the requirements of the game, these artisans are able to add or subtract materials in the body of the masks.

Structure of Naamghar

Architecture of Naamghar

Since wood and bamboo were abundant and carpentry was easy to obtain, devotees and monks could most of the time build Kirtangharas or residential huts themselves with magnificent artistry. Another smaller hall is built at right angles to the main hall of the Naamghar (its length is usually equal to the width of the Naamghar). An outstanding feature of the Barpeta Satra construction is the seven terraces between the low ceiling and the central part of the roof.

Most of the earlier Naamghar tops in a large number of Satras were thatched. Katha-Guru-Carita (Sarma, 2017) gives a vivid account of the construction of the Barpeta Satra Kirtanghar. The posts, cross beams and horizontal posts throughout the length of the house were in place.

Over the period of time, Naamghar have undergone substantial changes, as wooden pillars and thatched roofs have given way to concrete pillars and iron sheets in most of the Satras and Naamghar village.

Design Elements of Naamghar

Manikut
Guru Asana
Naam-Prasanga
The Prasad
Windows, lamps and stand
Musical Instruments
Art and Craft of Naamghar
Carved Roof Truss and Carved Singhasana
Wood Carving, Metal Work, Bamboo and Clay work

The only object of reverence is the sacred text placed at the top level of the Guru Asana. The sacred manuscripts, (called Puthi) are handwritten on the bark of the Agaru trees. It is said that Madhavdeva had invited a Muslim to lay the foundation of Naamghar in the north-east pillar.

On his side is the reader or Pathak of the Holy Scriptures or Kirtans (Hymns). On the northern stem of the U are places for the Bhakats (Naamghar monks) and the Bilaniyar (Prasad distributor).” The Treasurer (Khataniar) who collects the subscriptions and the Naamghar storekeeper (Dhaan-Bharali) are the other officials of the Naamghar.

Besides these, images of deities, standing figures of dwarapals (gate keepers) kneeling figures with folded hands like Garuda, Hanuman, Jay Vijaya, Charisiddhas (four wise men) adorn the entrance of the Naamghar or Manik of the Satra . .

Review of related literature

The popular use of Xorai over the centuries is today extended to all social and religious occasions of the Assamese people. Another distinctive feature of the Satriya carvings is the presence of the figures of a flying lion, magara or sea monster with the head of a crocodile and the tail of a fish, besides Garuda, mayura (peacock) and hansa (swan). Of these, the flying lion, the magara and even the Garuda remind us of the dragon-like figure common in the Mongoloid art tradition.

By using the magara in the door frames and the arches, a tremendous picture of energy is harnessed to rhythm and artistic beauty that again inspires in the realization of rasa and bhava. 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 lion is always found as the killer of the elephant, symbolizing the idea that sin is destroyed by Naama (name of God).

The detailed study of various aspects of the research will be carried out by field study and the development of techniques for the analysis of design elements and social aspects requires an exploration.

Research Methodology

Overview
Research strategy planning
Field visual survey
Design of research tool (questionnaire)
Validation of research tool
Research methodology choices
Tools for analysis of identified design elements
Group Discussion
Summary

As suggested in research strategy (Fig. 3.1), the methodology for data collection includes a comprehensive multiple set of visual surveys on field and questionnaire (both on field and in studio level). It is adapted from the work of William Labov, "The boundaries of words and their meaning" a linguist, illustrates this effectively. This study also covers the analysis of the design elements of Naamghar taking into account the theory of sign, which deals with signifier and signified (Saussurean.

So the position is at the top of the main gate, where the main dham is to be displayed. The unfolding of visual elements in the Naamghar plays an important role in the connotation of various aspects of the Naamghar. The meaning and perception of Naamghar elements depends on the relationships generated by various components of the Naamghar elements.

As mentioned above, the complexity of the elements included in the study was deciphered using a number of techniques viz.

Data Collection

Overview
Study of the areas and various buildings inside Satra Premises

Case study of Barpeta Satra
Architecture of Naamghar: A visual Tour

Design Elements of Naamghar: Visual Data collection from selected Satra/Naamghar

Layout
Seating in the Naamghar
Significance of North-Eastern Pillar
The Prasad
Utensil
Lamps and scriptural stand
Musical Instruments
Art and Craft of Naamghar

Study of overall Naamghar structure at various locations
Tools for analyzing data

Evolution of questionnaire during research by Interviews of respondent 1. General queries

Physical structure (Design)

Data Mapping
Form study
Color palette generator using K-means clustering algorithm

The treasurer (Khataniar) who collects the dues and the Naamghar shopkeeper (Dhan-Bharali) are the other officers of the Naamghar. Bell metal lamps are also lit before the Guru Asana during prayer time. In the core of the Naamghar Manikut lies valuable ornaments of gold and silver are kept in this area (Fig. 4.40).

Samples of such questionnaires and tabulated data are shown in Appendix I. The data collected from the analysis of literature review, field visual inspection and questionnaires were analyzed using various tools which are discussed in the next section. The arch of the crown is multi-lobed (scallops) with a flat pediment. The crown is supported by round columns with a plinth at the bottom). On the left and right above the pediment are two miniature callas of similar shapes. . j) Srimanta Shankra deva kala krishi Kendra. The Guru Asana arch is polylobed (six lobes) with a polylobed pediment. The dome is spherical in shape (concave downwards) with the presence of a kalash on top.

The idol of Krishna was always there in the Naamghar of Assam as it is one of the Dashavatar. The size of the Krishna depiction on the walls was found to vary. Secondly, Krishna sculpture was found on the walls of the Naamghar in the form of stories depicting good over evil.