Tanaya Acharjee – Kalabodh

Hampi’s Cultural…

Tanaya Acharjee — Thu, 29 May 2025 03:30:00 +0000

Hampi’s Cultural Legacy: From Festivals to Folklore

Hampi, a UNESCO World Heritage site, isn’t simply a spellbinding landscape of ruins and temples; it’s conjointly a living testament to centuries of culture, traditions, and lore. Close in Mysore, this ancient town was once the capital of the Vijayanagara Empire and continues to enchant visitors with its wealthy cultural heritage. On the far side its branch of knowledge grandeur, Hampi thrives through its vivacious festivals and unaltered legends that breathe life into its history.

Festivals That Keep Hampi Alive

One of the foremost fascinating aspects of Hampi’s cultural landscape is its festivals. These celebrations Change the historical ruins into Dynamic arenas of devotion, music, and dance, attracting pilgrims, artists, and history enthusiasts alike.

Hampi Utsav

The Hampi Utsav, also referred to as Vijaya Utsav, is that the most distinguished pageant celebrated within the region. Command annually, this grand event pays court to Hampi’s wonderful past. The pageant features cultural performances, processions, and folk music and dance. The well-lighted ruins underneath the night sky add a sorceries charm, creating it associate omissible spectacle.

Purandaradasa Aradhana

Dedicated to the 16th-century saint-composer Purandaradasa, this pageant celebrates Carnatic music with pious concerts and classical performances close to the famed Vittala Temple. Musicians from across the country gather to pay tribute to the legendary musician, whose hymns still echo within the temple halls.

Mahanavami Festival

During the Vijayanagara period, the Mahanavami pageant (also known as Dasara) was one amongst the grandest celebrations in Hampi. The pageant was held at the Mahanavami Dibba, a colossal platform where the king and his court would witness grand processions, military parades, wrestling matches, and cultural performances. The event symbolized the empire’s power and devotion to Hindu deity Durga. On the other hand, Mahanavami festival is essentially political festival; they convey their king as their god. His activity is significant contrasting elements of the empire.

Deepavali Celebrations

Deepavali, the pageant of lights was widely celebrated in Vijayanagara Empire. Historical accounts mention the grand decorations, light oil lamps, and festal feasts prepared at intervals the royal enclosures and temple premises. The pageant was marked by special prayers, fireworks, and community gatherings that mirrored the prosperity of the Empire.

Rathotsava (Chariot Festival)

The Rathotsava, or Chariot parade, was a big spiritual event related to the Main temples of Hampi, such as Virupaksha Temple and also the Vittala Temple. The pageant concerned a grand procession of deities carried in an intricate way adorned chariots, in the midst of singing devotees, musicians, and dancers. Present day, this traditional festival continues drawing the massive crowds and celebrated with joy. Though only Virupaksha temple only started the parade of ratha.

Folklore: Myths and Legends of Hampi

Hampi has an elongated tradition of dynasties, but it also has a connection to the epic Ramayana through its mythological and legend of storylines. These tales, which have been passed down through the ages, enhance the city’s historical value and tapestry. One of the important temples during the Vijayanagara temple is Rama Chandra temple also known as Hazara Rama Temple. This temple adorns carving narrates the entire journey of Rama.

Kishkindha – The Monkey Kingdom

According to the Ramayana, Hampi is believed to be the positioning of Kishkindha, the legendary monkey kingdom of Sugriva and Hanuman. The Anjaneya Hill, named after Lord Hanuman, stands as a reminder of those legendary tales. It is believed that Hanuman born on this hill while Anjana (Hanuman’s mother) performed mediation. The landscape itself, with its surreal boulder formations, fuels the imagination, making it straightforward to ascertain scenes from the epic.

Presently, on this hill, there is a temple of Hanuman named the Anjanadri temple that has 575 steps.

The Cursed Sisters- Tale of the two Boulders

One of Hampi’s most intriguing folktales is about two large boulders called Akka Thangi Gudda, or the ‘Sister Rocks.’ Akka means elder sister, thangi means younger sister, and gudda means stone in Kannada. According to legend, these two sisters were cursed to turn into stones for criticizing Hampi’s wonder because they were envious. These stones currently serve as a symbol of the city’s mystical history. It’s adjacent to Kamalapura Village’s main road to Hampi.

The Hidden Treasure of Hampi

According to the local legends, a hidden treasure of last monarchs of Vijayanagara Empire buried deep within the ruins of Hampi. While, some believes are lies on that the treasures are protected by the divine spirits or supernatural powers. Some local stories said about uncanny night time conference and discussion and odd happenings near the ruins.

The Queen’s Curse on the Vijayanagara Empire

There is another intriguing story associated with downfall of the Vijayanagara Empire. It is mentioned that a queen, annoyed by an excellent betrayal and corruption, cursed the empire to ruin. Soon after, the empire fell to invaders, Deccan sultanates conquered Hampi and convert it into the ruins which we can see nowadays. The primary cause of the collapse was the Battle of Talikot.

The Living Culture of Hampi

Although Hampi features ancient ruins; it is not solely a remnant of history but a flourishing cultural centre. Crafts are a symbol of folk culture, and local artisans practicing traditional crafts entertain visitors through folk music and dancing. Hampi’s identity is crafted with its legends and folklore, which change it beyond a mere tourist attraction. The cultural soul of Hampi still motivates and awes individuals who traverse its paths, be it through major festivities or hushed tales between the ruins. Hampi is always ready to offer those who want to experience a combination of culture and history with open hands and countless tales to share.

References

Iyer, S. 2023. Echoes of Hampi: Past and Present. Bangalore: Hampi Archives.
Kumar, P. 2020. Festivals of Karnataka. Hyderabad: South Indian Heritage.
Menon, T. 2022. Ghost Stories of Hampi. Kerala: Mystic Legends Press.
Nair, R. 2020. Treasures and Myths of South India. Kochi: Heritage Research.

About the Author:

Author: Tanaya Acharjee

Tanaya Acharjee, with expertise in archaeology and history, specializes in the study of sculptures, landscapes, and cultural heritage. Her work includes archaeological excavations, museum documentation, and research on intangible heritage, adopting a multidisciplinary approach to the past.

The Art of Manuscripts…

Tanaya Acharjee — Thu, 01 May 2025 12:18:52 +0000

The Art of Manuscripts: Sanchipat & Tulapat Tradition

The ancient art of manuscripts thrived in medieval Assam, primarily on sanchipat (processed bark of the Aquilaria agallocha tree) and tulapat (handmade cotton paper). These manuscripts had intricate paintings depicting historical, mythical, and religious themes.

Historical Background

Manuscript composition and manuscript writing in Assam have existed since medieval times, flourished best under the reign of Ahom dynasty (1228–1826 CE). Assamese illustrated manuscripts were largely sectarian, used in the transcription of Hindu epics like Ramayana and Mahabharata and different Vaishnavite compositions related to Bhakti movement, particularly under the guidance of Srimanta Sankardev (1449–1568 CE). One of the well known works of Assamese illustrated manuscripts is Hastividyarnava, a 17th century work by Sukumar Barkaith on elephants sponsored by Ahom King Siva Singha and his Queen Ambika. The manuscript contains elaborate illustrations of elephants in different forms and postures, evidence of the artistic skill of the period. Some other important manuscripts are Kirtan-Ghosa, Gita-Govinda and Bhakti-Ratnavali each with beautiful illustrations of gods, saints and mythological tales.

Materials and Techniques

Manuscript writing relied on two basic materials:

Sanchipat: It was a product of the bark of Aquilaria agallocha tree, which was very durable. The bark was soaked, dried and smoothened with conch shells to form a smooth surface for writing. This material was very precious because some manuscripts were found to have lasted for centuries without much decay.
Tulapat: It was created from tula (cotton). The fibers of the cotton were wet, beaten into pulp and dried into sheets. This hand-typed paper was a good alternative to sanchipat especially when sanchi trees were not available.

Natural Colors and Illustration Techniques:

The natural coloring used in manuscript writing came from minerals and flora:

Hengul (Vermilion) – Derived from cinnabar, used for red colors.
Haital (Orpiment) – From arsenic sulfide, used for yellow.
Indigo – Derived from Indigo fera plants, used for blue.
Lac and Lamp Black – Used for deep red and black ink.

Artists used fine brushes of animal hair to paint detailed paintings. The paintings were linear in style with bold lines, flat coloring and little shading, just like the traditional Assamese style.

Decline of the Tradition The decline of manuscript writing in Assam is due to many reasons:

Colonial Disruption: With the introduction of printing press during British colonization, the demand for hand-drawn manuscripts decreased. Paper-based books introduced later replaced the earlier method of manuscript writing.
Loss of Patronage: During Ahom period, royalty and aristocratic families patronized manuscript painting. But with the decline of Ahom Empire and modern education, the system of patronage broke down.
Material Scarcity: The sanchi tree (Aquilaria agallocha) required for sanchipat preparation is now an endangered species due to deforestation and facing extinction.
Changing Cultural Preferences: Nowadays, printed books and digital media have taken over from handwritten manuscripts. There is no market for traditional manuscripts and the youth is more inclined towards new art forms rather than learning the long process of manuscript painting.

Revival Efforts and the Way Forward

Although in decline, there are various efforts being made to conserve and revive manuscript:

Documentation and Conservation: Organizations like Srimanta Sankaradeva Kalakshetra in Guwahati and Assam State Museum are actively engaged in documentation and conservation of old manuscripts. Old manuscripts are being digitized to make them last longer.
Academic Research and Awareness: Universities and research centers are researching the techniques of manuscript writing and organizing workshops to teach students and artists about this ancient art. Researchers are writing research papers to create awareness about these manuscripts.
Sustainable Alternatives: Since sanchipat is not available; scientists are looking for substitute materials to create manuscripts. Handmade paper and natural colours are being used to reproduce traditional manuscripts in a way that does not harm the environment.
Inclusion in Art and History: Curriculum Including manuscript writing in art and history courses in schools and colleges may generate interest among young students. With practical training, students can master the art of manuscript illustration.
Public Exhibitions and Digital Platforms: Museums, art galleries and cultural organizations are organizing exhibitions to showcase manuscript writings. Digital platforms and social media can also play a crucial role in promoting awareness about this dying art to global audience.

Conclusion

Manuscript writing is more than just an art form; it is a part of the region’s cultural and historical heritage. The intricate illustrations seen on Sanchipat and Tulapat manuscripts represent centuries of tradition and custom that must be acknowledged and preserved. With the latest initiatives by scholars, institutions and artists are trying to keep this dying art alive and intact. Manuscript painting can be a model for future generations if it incorporates both contemporary technology and traditional techniques with eco-friendly practices.

References

Baruah, S. 2013. History of Assamese Manuscripts. Guwahati: Assam Publication Board.
Choudhury, A. 2018. “Conservation Challenges of Sanchipat Manuscripts.” Indian Journal of Conservation Science 12 (1): 45–56.
Goswami, P. 2006. Traditional Painting Techniques of Assam. New Delhi: Indira Gandhi National Centre for the Arts (IGNCA).
Neog, M. 1980. Vaishnavism and Assamese Culture. Guwahati: Assam Sahitya Sabha.
Sharma, K. 2015. Illustrated Manuscripts of Assam: A study of Hasti-Vidyanarva. Kolkata: Asiatic Society.

About the Author:

Author: Tanaya Acharjee

The Ahom dynasty…

Tanaya Acharjee — Thu, 10 Apr 2025 08:20:39 +0000

Ahom Architecture: The Blend of Indigenous and Mughal Influences

The Ahom dynasty, which ruled Assam for nearly 600 years (1228–1826 CE), left an enduring mark on the region’s architectural heritage. Initially, their construction style was deeply rooted in indigenous techniques, relying on locally available materials like bamboo, timber, and thatch. However, as the kingdom expanded and encountered external powers, particularly the Mughals, Ahom architecture began to evolve, incorporating new artistic and structural elements. This transformation was a result of military conflicts, diplomatic interactions, and cultural exchanges, which ultimately shaped a distinctive architectural style that blended Assamese traditions with Mughal aesthetics.

The Indigenous Foundations of Ahom Architecture

During the early period of Ahom rule, construction primarily reflected practicality and adaptation to the local environment. Their indigenous style was characterized by:

Use of Local Materials: Ahoms initially built their structures using bamboo, timber, and thatch, materials well-suited to the humid and flood-prone climate of Assam.
Simplicity in Design: Architectural structures were functional rather than ornamental, with an emphasis on resilience against natural elements.
Maidams (Burial Mounds): Inspired by Southeast Asian traditions, the Ahoms constructed maidams- elaborate earthen mounds used as tombs for their kings and nobles. Recently, it included in UNESCO world heritage site in 2024.

Garh and Aali (Fortifications and Embankments): The Ahoms developed an advanced system of fortifications (Garh) and embankments (Aali) for defense and flood control.

The Shift towards Monumental Architecture

By the 17th century, the Ahoms transitioned to constructing more permanent structures using brick and stone sourced from the Naga Hills. They developed a unique mortar mix made of mustard oil, jaggery, fish, limestone, copal, and urad dal, which provided durability to their buildings. This period saw the rise of:

Royal Palaces: Fortified residences like Kareng Ghar and Talatal Ghar were built with underground tunnels, secret exits, and multiple levels.
Stone Bridges: Ingeniously crafted bridges, such as the Namdang Stone Bridge, showcased Ahom engineering skills.
Temples and Water Tanks: Structures like the Shiva dol temple and Sivasagar Tank reflected growing Hindu influences under later Ahom rulers.

While these constructions retained the indigenous architectural ethos, interactions with the Mughals in the late 17th and early 18th centuries introduced new elements into Ahom designs.

Mughal Influence on Ahom Architecture

Frequent military encounters and treaties with the Mughal Empire played a crucial role in transforming Ahom architecture. The Ahoms successfully resisted Mughal invasions multiple times, yet these conflicts also facilitated an exchange of ideas, particularly in construction techniques and design aesthetics.

Arched Doorways and Windows: Earlier Ahom structures featured simpler entrances, but later constructions incorporated graceful Mughal-style arches, adding both elegance and structural strength. Example- the Talatal Ghar, a multi-storied palace, features expansive Mughal-style arched doorways.
Domes and Ornate Roof Structures: Traditional Ahom buildings had sloping roofs, but later monuments began to feature domes and decorative finials, inspired by Mughal domed structures. Example- the Rudreswar Temple, built by Rudra Singha in the early 18th century, showcases a Mughal-style dome while preserving Ahom construction methods. Similarly, the Joydol Temple (circa 18th century CE), situated near the Joysagar Tank, has a dome-like shikhara adorned with intricate motifs, illustrating a fusion of Ahom and Mughal architectural elements. Additionally, the Vishnu Dol in Sivasagar, built during the later Ahom era, showcases domed structures and decorative carvings that integrate both indigenous and Mughal influences.
Grand Corridors and Symmetry: Ahom palaces evolved to include large corridors, symmetrical layouts, and expansive courtyards, mirroring Mughal aesthetics. Example- the Kareng Ghar, though primarily built in indigenous style, features elements of Mughal spatial planning.
Red Brick and Decorative Motifs: While the Ahoms traditionally used stone, the Mughal preference for red brick construction influenced later Ahom architecture. Ornamentation in some structures began to include floral and geometric designs, a signature of Mughal artistry.

A Unique Architectural Synthesis

Rather than merely replicating Mughal designs, the Ahoms selectively adopted and integrated foreign elements within their indigenous framework. This led to a distinct architectural identity that retained Assamese craftsmanship while embracing Mughal elegance. The monuments of Sivasagar, including Talatal Ghar, Rang Ghar, and the Rudreswar Temple, exemplify this harmonious fusion.

Preserving the Ahom Architectural Heritage

Today, the remnants of Ahom architecture stand as a testament to the dynasty’s grandeur and innovation. However, many of these structures are under threat due to natural decay, urbanization, and inadequate conservation efforts. Restoration initiatives by the Archaeological Survey of India (ASI) and local authorities are crucial in preserving these historical marvels. Efforts to safeguard these monuments not only protect Assam’s rich past but also contribute to cultural tourism and academic research. The study of Ahom architecture provides valuable insights into the region’s historical evolution, technological advancements, and cultural exchanges.

Conclusion

The Ahom dynasty’s architectural legacy is a reflection of their resilience, adaptability, and artistic vision. Their ability to blend Assamese traditions with influences from the Mughals, Southeast Asia, and Hindu temple architecture resulted in a distinctive style that continues to captivate historians, architects, and travelers alike. From fortresses to palaces, temples to bridges, Ahom constructions narrate the story of a dynasty that not only ruled but also enriched the cultural fabric of Assam. As we strive to preserve these timeless structures, we also honor the legacy of a civilization that shaped the identity of Northeast India.

References:

Indian Culture Portal – indianculture.gov.in
Archaeological Survey of India (ASI) – asi.nic.in
EuroAsia Journal on Heritage & History – euroasiapub.org
Phukan. B. Runmoni, 2019, Assam’s architecture and sculptures: The contribution of the Ahoms, Vol. 7, Issue 3,International Journal of Social Science and Humanities Research, pp: (176-178).

About the Author:

Author: Tanaya Acharjee

Paat Silk of Assam…

Tanaya Acharjee — Mon, 17 Mar 2025 08:22:05 +0000

Paat Silk of Assam: A Legacy of Craftsmanship and Heritage

Assam, renowned for its rich cultural heritage, has long been celebrated for its exquisite silk weaving tradition. The state produces three major indigenous silks- Muga, Eri, and Paat (mulberry) each with unique qualities and cultural significance. Among them, Paat silk is particularly esteemed for its fine texture, natural sheen, and durability. Predominantly woven in Sualkuchi, often called the ‘Manchester of the East,’ this centuries-old craft is more than an economic activity it embodies Assamese identity and skilled craftsmanship. Passed down through generations, the weaving process has sustained livelihoods and preserved Assam’s vibrant textile legacy.

Historical Evolution and Royal Patronage

Silk weaving in Assam dates back to ancient times, with references in the Arthashastra (4th century BCE) by Kautilya, highlighting the fine silk fabrics of Kamarupa. This recognition underscores its importance in early trade and courtly attire. The craft flourished under the Ahom dynasty (1228–1826 CE), where rulers actively promoted sericulture and weaving, making silk garments an integral part of the royal court and aristocracy. Edward Gait noted that hand-woven silk garments symbolized prestige and were often gifted as tributes. Assamese texts like the Hastividyarnava (17th century) further document the region’s expertise in silk weaving, emphasizing its long-standing cultural significance.

The Craftsmanship of Paat Silk

Paat silk is derived from the Bombyx mori silkworm, which feeds exclusively on mulberry (Morus indica) leaves, giving it a smooth texture and unmatched sheen. Traditionally reeled by rural artisans for domestic use, Paat silk is now recognized beyond Assam. Naturally white or off-white with a golden hue, it is often described as buttery soft. The intricate production process includes silkworm rearing, fiber extraction, spinning, dyeing, and weaving. Weavers use traditional handlooms (taat xaal) to create motifs inspired by nature, folklore, and religious symbols. Recent technological advancements, such as Jacquard looms, have enhanced design intricacy. Women remain the primary custodians of this heritage craft, ensuring its continuity across generations.

Cultural Significance

Paat silk plays a vital role in Assamese festivals, weddings, and religious ceremonies. Traditional attires like Mekhela Sador, riha, sarees, gamusa (a hand-woven cloth) dhotis, and men’s upper garments are woven with Paat silk and adorned with intricate motifs such as japi (conical hat), gos buta (tree motifs), floral designs, birds, and geometric patterns; each reflecting indigenous aesthetics and cultural heritage. Wearing Paat silk is considered a mark of elegance and respect for Assamese traditions, reinforcing its deep-rooted significance in the region’s cultural identity.

Economic Empowerment and Global Recognition

The handloom industry in Assam sustains thousands of weavers, particularly women, providing economic empowerment and stability. Sualkuchi, the silk-weaving hub, plays a crucial role in production and trade. With the rising global demand for sustainable textiles, Paat silk has gained international recognition. Government initiatives, including the Geographical Indication (GI) tag for Assamese silk and support through programs like the National Handloom Development Program (NHDP) and North Eastern Region Textile Promotion Scheme (NERTPS), have bolstered the industry by providing financial aid and infrastructure development.

Challenges and the Path Forward

Despite its cultural and economic significance, the Paat silk industry faces challenges such as declining raw material availability, competition from machine-made fabrics, and shifting consumer preferences. However, the growing demand for sustainable, handcrafted textiles presents an opportunity for revival through innovation, digital marketing, and global outreach.

Conclusion

Paat silk weaving is more than a craft—it is a legacy that embodies Assam’s heritage and identity. Preserving this tradition requires collective efforts from artisans, policymakers, and consumers. As the world embraces sustainable fashion, Paat silk’s timeless appeal ensures that it remains an enduring symbol of Assamese culture for generations to come.

References:

Baruah, B.K. 1951. A Cultural History of Assam. Vol. 1st. Assam: K.K Baruah. https://archive.org.
Chakravarty, Preeti, and Keshab Basumatary. 2018. Review of Sualkuchi Village of Assam: The Country of Golden Thread. Journal of Business and Management20 (3): 12–16. iosrjournals.org.
Gait, E. A. 1906. History of Assam. Calcutta: Thacker, Spink. https://archive.org.
Das, Priyanka, and Ruma Das. 2022. Review of Sualkuchi: The Manchester of Assam and Its Uncertain Future. IJSDR7 (8). https://ijrti.org/papers/IJRTI2208001.pdf

About the Author:

Author: Tanaya Acharjee