what is assignment called in assamese

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assigned in Gujarati ગુજરાતી

• નિર્દિષ્ટ ⇄ assigned
• સોંપેલું ⇄ assigned

assigned in Hindi हिन्दी

• अभिहस्तांकित ⇄ assigned
• समुनदेशित ⇄ assigned
• सौंपा गया ⇄ assigned

assigned in Marathi मराठी

• नियुक्त ⇄ assigned
• नेमून दिलेला ⇄ assigned
• नेमून दिलेले ⇄ assigned
• सोपवलेले ⇄ assigned

assigned in Urdu اُردُو

• مخصوص ⇄ assigned

assigned Deals on Amazon

Assigned in assamese.

assigned | Assamese dictionary translates English to Assamese and Assamese to English assigned words      assigned phrases with assigned synonyms assigned antonyms    assigned pronunciations .

assigned meaning in Assamese

assigned in Assamese    Assamese of translation of assigned    Assamese meaning of assigned    what is assigned in Assamese    dictionary definition, antonym, and synonym of assigned

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Indian Official Languages Dictionary is significantly better than Google translation offers multiple meanings, alternate words list of assigned    assigned phrases    with similar meanings in Assamese অসমীয়া, Assamese অসমীয়া dictionary    Assamese অসমীয়া assigned translation    assigned meaning    assigned definition    assigned antonym    assigned synonym Assamese language reference work for finding synonyms,   antonyms of assigned .

This page is an online lexical resource, contains a list of the assigned like words    in a Assamese language in the order of the alphabets, and that tells you what they mean, in the same or other languages including English.

What is 'assigned' meaning in Assamese?

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Indian Official Languages Dictionary - KHANDBAHALE.COM | भारतीय राजभाषा शब्दकोश - खांडबहाले.कॉम is a digital dictionary platform for 22 Official Languages of India with an extensive vocabulary of 10+ million words, meanings & definitions. The languages offered along with English are Assamese (অসমীয়া) Bengali (বাংলা) Bodo (बड़ो) Dogri (डोगरी) Gujarati (ગુજરાતી) Hindi (हिन्दी) Kannada (ಕನ್ನಡ) Kashmiri (कॉशुर) Konkani (कोंकणी) Maithili (মৈথিলী) Malayalam (മലയാളം) Manipuri (মৈতৈলোন্) Marathi (मराठी) Nepali (नेपाली) Oriya (ଓଡ଼ିଆ) Punjabi (ਪੰਜਾਬੀ) Sanskrit (संस्कृतम्) Santali (ᱥᱟᱱᱛᱟᱲᱤ) Sindhi (سنڌي) Tamil (தமிழ்) Telugu (తెలుగు) Urdu (اُردُو)

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An Introduction to Assamese Script Reading and Writing

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Useful phrases in Assamese

A collection of useful phrases in Assamese, an eastern Indo-Aryan language spoken in the Indian states of Assam, Meghalaya and Arunachal Pradesh, and also in Bangladesh and Bhutan.

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See these phrases in any combination of two languages in the Phrase Finder . If you can provide recordings, corrections or additional translations, please contact me .

Phrases from Lonely Planet India Phrasebook , with corrections and additions by Axom Konwar, Nibir Borpuzari and Sagir Ahmed.

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Assamese Language: Origin and Development

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Assam is the meeting ground of diverse cultures. The people of the enchanting state of Assam are an intermixture of various racial stocks such as Mongoloid, Indo-Burmese, Indo-Iranian and Aryan. The Assamese culture is a rich and exotic tapestry of all these races evolved through a long assimilative process. The natives of the state of Assam are known as "Asomiya" (Assamese), which is also the state language of Assam. The state has a large number of tribes, each unique in its tradition, culture, dress and exotic way of life.

Diverse tribes like Bodo, Kachari, Karbi, Miri, Mishimi, Rabha, etc co-exist in Assam; most tribes have their own languages though Assamese is the principal language of the state. A majority of the Assamese are Vaishnavas (a sect of Hinduism). The Vaishnavas do not believe in idol worshiping and perform "Naamkirtana", where the glory of Lord Vishnu is recited. The two important cultural and religious institutions that influence the cultural fabric of Assam: the "Satras", the site of religious and cultural practice which have been in existence for over 400 years and the "Naamghar", the house of prayers. Villagers generally associate on the basis of membership of a local Centre of devotional worship called "Naamghar". Villages are usually made up of families from a number of distinct castes.

In Assam, the caste system, although it exists, is not as prominent as in other parts of India. Other religions such as Buddhism, Christianity, Hinduism, Islam etc. are also practiced in Assam. The state festival of Assam is the Bihu which is celebrated in three parts during a year with great pomp and grandeur by all Assamese, irrespective of caste, creed or religion. There are various elements which are being used to represent beliefs, feelings, pride, identity, etc and are considered as important symbolic elements in Assamese culture. The quintessential symbols are the Asomiya"Gamucha", "Jaapi", "TamulPaan" and "Xorai". Traditional attire worn by women called the "Mekhela Chador" and Assamese jewellery also form an integral part of the Assamese culture.

The " Gamucha" is one of the most easily recognizable cultural symbols of the Assamese people and is an integral part of almost all socio-religious ceremonies. It is considered as an honorary piece of cloth commonly used for felicitation in Assam.

The " Gamucha" , a white rectangular piece of cotton hand woven cloth with primarily a red border on three sides and red woven motifs on the fourth (in addition to red, other colors are also used) is put to many uses. It is used as a towel, as a waistcloth or a loincloth; a Bihu dancer wraps it around the head in a knot, it is also hung around the neck at the prayer hall and thrown over the shoulder to signify social status or respect. " Gamucha"s" , also known as " Bihuwaans" , are offered during Bihu as a token of love. Significantly the " Gamucha" is used equally by all, irrespective of religious and ethnic backgrounds.

" Tamul Paan " (the areca nut and betel leaves) or Guapan are considered as the offers of devotion, respect and friendship.

" Tamul Paan " (the areca nut and betel leaves) or Guapan are considered as the offers of devotion, respect and friendship. Guests are offered "Tamul Paan" in a traditional bell metal serving " Bota " as a mark of honour. Chewing "Tamul Paan" gives a kind of high and feel good factor. "Tamul Paan" is integral part of all social and religious ceremonies of the Assamese people. It is an ancient tradition and is being followed since time-immemorial.

The " Jaapi" is a traditional conical hat from Assam which is made from tightly woven bamboo and/or cane and " Tokoupaat ", a type of large palm leaf. The word " Jaapi" derives from Jaap meaning a bundle Tokou leaves.

" Jaapi"  is worn in a style of Bihu dance, used as protection against the elements, offered as a sign of respect in ceremonies, and placed as a decorative item around the house, especially near the front door as a welcome sign. Plain " Jaapi"  were used by farmers for protection from the sun and rain while working in the fields, while ornate " Jaapi"  were worn as a status symbol by Assamese royalty and nobility.

"Xorai" a traditional symbol of Assam, is a manufactured bell-metal product and is considered as an article of great respect by the people of Assam. There are " Xorai"s" with or without a cover on the top. Hajo and Sarthebari are the most important centers of traditional bell-metal and brass crafts in Assam.

Xorai"s"are used to offer " Tamul Paan " as a sign of welcome and thanks for guests. It is also used as a utensil to offer Prasad, food and other items in front of the Lord in an altar or " Naamghar" . " Xorai"s" are also used as decorative pieces and are also offered as a gift to a person of honour during felicitations.

Mekhela Chador

Assam is the home of several types of silks, the most prominent and prestigious being " Muga" , the natural golden silk exclusive only to Assam. Apart from " Muga" , there are other two varieties called " Paat ", a creamy-bright-silver coloured silk and " Eri ", a variety used for manufacturing warm clothes for winter...

Assam is the home of several types of silks, the most prominent and prestigious being " Muga" , the natural golden silk exclusive only to Assam. Apart from " Muga" , there are other two varieties called " Paat ", a creamy-bright-silver coloured silk and " Eri ", a variety used for manufacturing warm clothes for winter. Apart from Sualkuchi, the centre for the traditional silk industry, in almost every part of the Brahmaputra Valley, rural households produce silk and silk garments with excellent woven designs. Moreover, various ethno-cultural groups in Assam make different types of cotton garments with unique woven designs and wonderful colour combinations.

Traditional Mekhela Chadors are made from Cotton, Muga, Paat  Silk or Eri  Silk.  However, now a day"s some modern low-budget Mekhela Chadors are also made with varying blends of Cotton and Muga or Paat  Silk with synthetic materials.

Mekhela Chador is an indigenous traditional Assamese dress worn by women. There are two main pieces of cloth that are draped around the body. The bottom portion, draped from the waist downwards is called the Mekhela . It is in the form of a very wide cylinder that is folded into pleats to fit around the waist and tucked in. The Chador , a lengthy piece of cloth, has one end tucked into the upper portion of the Mekhela and the rest draped around the rest of the body and pinned to the blouse. The Mekhela Chador is invariably worn with a blouse underneath which covers the top half of the body and an underskirt with a string is often used. A Riha is still worn as part of the Assamese bridal trousseau and in other indigenous traditional events like Bihu etc.

Assamese Jewellery

Assamese ornaments are one of the most important parts of Assamese culture. It is generally made of gold termed as " Kesha Xoon " or raw gold. The ornaments are very beautiful to look at and are a very prestigious part of Assamese culture. Some of the popular traditional Assamese jewellery include earrings with exquisite Lokaparo, Keru, Thuriya, Jangphai, Long Keru, Sona or Makori ; an array of necklaces including Golpata, Satsori, Joon biri, Bena, Gejera, Dholbiri, Doogdoogi, Biri Moni, Mukuta Moni, Poalmoni, Silikha Moni and Magardana , and diversified rings including Senpata, Horinsakua, Jethinejia, bakharpata and others

The jewellery is typically hand-made, and the designs mostly depict flora and fauna treasures of the region. Traditional designs of Assamese jewellery are simple but decorated with vibrant red gemstone, ruby or mina. Black, red and green colors on gold jewellery look very gorgeous and these colors also dominate the traditional dresses of tribes and communities of the northeastern states.

Bihu is the most popular folk dance of Assam. Bihu dances are performed by young boys and girls during the Bihu festivities which represent youthful passion, reproductive urge and joy. It is characterized by brisk dance steps and rapid hand movement. Dancers wear traditional colourful Assamese clothing.

The dances are accompanied by musical instruments like "Dhol" ( Dhol ak), pepa, gogana, banhi (flute) etc. Though the origin of the Bihu dance is unknown, the first official endorsement is cited to be when Ahom king Rudra Singha invited Bihu dancers to perform at the Ranghar fields sometime around 1694 on the occasion of Rongali Bihu.       >

Satriya Nritya

Satriya Nritya is the classic dance form of Assam which represents the Satriya culture, the basis of the religious and cultural fabric of Assam. It is one among eight principal classical Indian dance traditions. Whereas some of the other traditions have been revived in the recent past, Satriya has remained a living tradition since its creation by the founder of Vaishnavism in Assam, the great saint Srimanta Sankardeva, in 15th century Assam.

The core of Satriya Nritya has usually been mythological stories. This was an artistic way of presenting mythological teachings to the people in an accessible, immediate, and enjoyable manner.

Barpeta's Bhortal Nritya

Bhortal Nritya, an extension of Sankari culture of Barpeta evolved from the classical dance form of that particular district of Assam and was developed by Narahari Burha Bhakat, a well-known Satriya artist.

Six to ten dancers perform this dance and produce a good number of attractive formations displaying the cymbals. This dance can be performed in larger groups as well. It is performed to a very fast beat. This beat is known as " 7hiya Nom" . The dance can be seen during festive occasions in and around Barpeta and Guwahati.

Jhumur Dance

In the passage of more than a hundred years of their settlement in Assam the tea tribes have developed a synthesised form of dance called " Chah Baganar Jumur Nach ". This is a beautiful dance to watch. A visitor to any tea garden can easily see this dance. 

The tea tribes have a synthesized form of dance called " Jhumur Nach ", performed by girls and boys together, or, sometimes by the girls alone, with precision of footwork while tightly clasping each other's waist.     

The Bodo community has many folk dances to boast. Among them the best and the most attractive is the Bagurumba dance. This is mainly a formation dance with slow steps and outstretched hands. About a score of girls dressed in colourful attire perform this dance to the accompaniment of Bodo traditional musical instruments.

A tourist in Assam can see this dance in the Bodo inhabited areas of Kokrajhar, Bongaigaon, Nalbari, Darrang and Sonitpur districts. It is usually practiced during Baisagu, a festival of the Bodos in the Bishuba Sankranti or mid-April. The Bagurumba dance is also called "butterfly dance" because this attractive folk dance of the Bodo tribe of Assam resembles the movement of birds and butterflies.

The Deodhani dance is associated with the worship of the snake goddess Manasa. A Deodhani girl, in an inspired state, goes on dancing to the accompaniment of Kham (drum) and Ciphung  (flute) propitiating many a deity beginning with Shiva and ending with Lakshmi. There are actually two types of Deodhani Nritya. One is a semi-classical dance and the other one is a trance form (not a dance). The Deodhani Nritya found in Mangaldoi and southwest Kamrup area is linked to the Sukanani Oja-Pali . The Deodhani Nritya was observed at the Maa Kamakhya Temple as a Festival since the year 2007. It is believed that people taking part in this form of dance inherit some superficial power from Goddess Kamakhya.   

Music in Assam

Assam, being the home to many ethnic groups and different cultures, is rich in folk music. Traditional instruments include " Pepa" , an instrument made from buffalo horn and " Bholuka baahor toka ", a musical instrument made of split bamboo. The "Dhol" too is an important and a quintessential instrument used in Bihu dance.

The "Dhol" is a double-sided barrel drum covered with goat, cow or buffalo skin and is played with a stick on one side and a handon the other. "Dhol" like instruments are found in almost every culture of the world, however, the Assamese "Dhol" or " PatiDhol" is distinguished by its small size and relatively produces a loud sound. These are extensively used in Bihu Geets, dances, and have also become a part of modern-day music.

The " Gogona" is a type of jaw harp, a vibrating reed instrument that is used primarily in the traditional Bihu music in Assam by the women folk. It is made of a piece of bamboo/horn that has a bifurcation on one end.

Some of the popular yester year artists like Jyoti Prasad Agarwala, Bishnuprasad Rabha, Parvati Prasad Baruva, Bhupen Hazarika, Nirmalendu Choudhury &Utpalendu Choudhury, Pratima Barua Pandey, LuitKonwar Rudra Baruah, Parvati Prasad Baruva, Jayanta Hazarika, Khagen Mahanta and Beauty Sarma Baruah has laid the foundation of the Assamese music industry with a confluence of indigenous folk music. Among the new generation, singers like Zubeen Garg, Angaraag Mahanta, Kalpana Patowary, Joi Barua, JitulSonowal and Manoj Borah are well known.

Cuisine of Assam

Tea or " Saah " in Assamese is an indispensable part of Assamese cuisine. It is served in form of Black tea, Milk tea, Spiced tea, Green Tea, Lemon tea etc.

The traditional Assamese Breakfast comprises of " Jolpaan" and " Pithas" . Some types of " Jolpaan" are Bora Saul (a variety of sticky rice), Komal Saul, Xandoh, Chira, Muri, Akhoi, Sunga Saul etc. eaten in combination with hot milk, curd, jaggery, yogurt or seasonal ripe fruits.

Pitha's and Laru's or Ladoo's are prepared especially during the time of Bihu from rice flour, grated coconut, sugar, jaggery etc. Some Pitha's are Til Pitha, Ghila Pitha, Xutuli Pitha, Sunga Pitha, Bhapotdiya Pitha, Lakhimi Pitha, Tora Pitha, Tekeli Pitha, Deksi Pitha, Muthiya Pitha, Kholasapori Pitha, etc. Laru's include sweet balls made from coconut called the " Laskara " or the " Tilor Laru " made from roasted sesame Seeds.

The Assamese Thali comprises of plain steamed rice, a lentil preparation or " Daal" , a mixed vegetable often called a " Labra" , a variety of " pitika's " or mashed potatoes, brinjal, tomatoes etc, a dry vegetable preparation made with small potatoes or " Soru Aloo ", Gourd, Bitter Gourd, Banana flower, a leafy vegetable preparation made with Lai Xaak , Fiddle Head Ferns or Dhekiya Xaak, Kosu Xaak or Colocassia leaves etc. 

Accompaniments include fermented bamboo shoot pickle or Khorisa, Kahudi/ Pantitenga and Kharoli which is fermented mustard paste, Butor Guri or Whole Black Chana Powder, Til or Sesame Chutney, Lentil Chutney etc. The cuisine is characterized by very little use of spices, little cooking over fire and strong flavors mainly due to the use of locally available exotic fruits and vegetables that are either fresh, dried or fermented. Fish is widely used in the forms of Curry, Fry, Mash and Maas Pura cooked over fire. Meat includes Mutton, Chicken, Duck, Pigeon and Pork amongst a few communities.

A traditional Assamese meal begins with a " khar ", a class of dishes named after the main ingredient, and ends with a " tenga ", a sour dish. The food is usually served in bell metal utensils which are believed to be good for health and boosting up immunity. The most common dessert would be a rice pudding called " Payash ". " Poitabhat " is a favourite dish in Assam during the summer season. Cooked rice is soaked overnight and left to ferment. It is served with mustard oil, onion, chili, pickles, pitika  etc.

An Assamese meal is generally concluded with the chewing of "Tamul Paan" which is basically pieces of Betel nut eaten in combination with Betel leaf, edible limestone and tobacco.

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Srimanta Sankardeva's Role in Language, Literature and Culture of Assam: A Critical Perspective

2021, Chirantan Chintan

Srimanta Sankardeva (ca1449-1568 AD), a 15th-16th century Assamese polymath contributed significantly in shaping the Assamese culture and literature. He was a pioneer of Assamese art and culture, language and literature and also of education. The Neo-Vaishnavite movement, spearheaded by Saint Sankaradeva is a tremendous socio-cultural revolution in Assam, which takes an important role to create a strong social bond among the people of Assam (Borah 1). However, Sankardeva's contributions have enriched Assamese language,

Related Papers

IAEME PUBLICATION

IAEME Publication

Srimanta Sankardeva (ca1449–1568 AD), a 15th–16th century Assamese polymath contributed significantly in shaping the Assamese culture and literature. He was a pioneer of Assamese art and culture, language and literature and also of education. The Neo-Vaishnavite movement, spearheaded by Saint Sankaradeva is a tremendous sociocultural revolution in Assam, which takes an important role to create a strong social bond among the people of Assam (Borah 1). However, Sankardeva’s contributions have enriched Assamese language, literature and socio-cultural milieu yet it fails to retain its original tradition throughout Assamese fraternity with which purpose he had, probably advocated the movement of Neo-Vaishnavism. This is evident in the current cultural context in Assam which witnesses an outburst of other cultural practices that have infiltrated into the original customs led by the saint-scholar. Moreover, multiple versions of biographies of Sankardeva have convoluted certain aspects of his life. Another probable reason could be because of the prevalence of orthodox Brahmanic (priesthood) culture that existed in Ahom kingdom at that time. Besides, the interventions of multiculturalism has problematised and fissured the cultural integrity of the indigenous people of this region. With these problems at hand this article seeks to explore the contributions of Sankardeva from a hindsight and to investigate upon the limitations in the Sankardeva movement. Sankardeva’s strategy to bring people together is prevalent mostly after his travel to Northern and Southern parts of India with his guru, disciples and followers. However, his prior wisdom inculcated by his teacher, Sri Sri Madhav Kandali makes a deep impact in his life as a scholar and socio-religious reformer. In this context Sankardeva’s literary pursuits may be divided into two phases—pre-Bhakti sojourn and post-Bhakti sojourn and further been attempted to examine with a critical eye.

Regular issue

Abul Hussain

Mahapurusha Srimanta Sankardeva was an Assamese saint-scholar. Study on his life and works is of great academic importance in Assam. The tutorial, cultural and literature contribution by him still influences the fashionable creative works. The ideas, cultural contribution and philosophy of Srimanta Sankardeva became an integral an area of the lifetime of Assamese people. Therefore, the investigators have felt the requirement to review about the contribution of Mahapurusha Srimanta Sankardeva within the sphere of Assamese literature and culture in relevancy its educational significanceto uplift the moral, spiritual, value based thought, character building and personality development of the long run generation of the people. the foremost objectives of the study are to review the Contribution of Mahapurusha Srimanta Sankardeva within the sphere of Assamese literature and culture and to review the tutorial significance of the Contribution of Mahapurusha Srimanta Sankardeva within the se...

The propagator of Neo-Vaishnavism was Srimanta Sankardeva (1449-1568). When he was born, the socio-cultural situations of Assam were too much lamentable. Around then different misbehaviours were submitted for the sake of religion, which vitiated the social structure. There were individuals who approximately clung to Saivism or Vaishnavism and other people who rehearsed Saktism. The supporters of these factions enjoyed malicious practices like animal and human sacrifices, mystical ceremonies and so forth. Furthermore, the outcomes were poor people and oppressed individuals became survivors of these horrendous practices. To spare this circumstance Sankardeva, established the Neo-Vaishnavism in Assam, which is normally known as the Eksarana-Nam-Dharma. Sankardeva's Neo-Vaishnavism has given birth of new a social and social life for Assamese individuals and zeroed in on a public character moulded by social conventions and language through Cultural Nationalism, which presented to the Indigenous individuals with the assistance of Sattras and Namghar. Sankardeva was not only a religious propagator, but also a great social reformer and the pioneer of the socio-religious or cultural movement of medieval Assam in the Sixteenth Century.

bani prasanna misra

Srimanta Sankaradeva has been the greatest of the neo-vaisnava reformers in Assam during the sixteenth century. The religious and social reforms initiated by him and his prodigious literary output in local language based mainly on the Srimadbhagavata themes helped Assam acquire a distinct identity and contribute its share to Indian civilisation since then. The present publication adds further light on many of the biographical details against the background of interconnectedness of eastern Indian history during that period, while also putting up novel explanations behind some of the vaisnava faith and practices.

International Journal of Scientific Research and Reviews

bhaskar das

The Neo-Vaishnavite movement of Sankaradeva had played a very significant role in building the social and cultural life of the people of Assam. This new creed of Sankaradeva, adhering to main principles of Bhakti, revolutionized the entire face of the life of the people of Assam and led to the formation of broader civil society. This movement of Sankaradeva had cut deep into the fabrics of the Assamese society and transcending all barriers of caste and tribe. It united the diverse tribal communities of the region and gave it a culture, later to be identified as Assamese. Sankaradeva spread the ides of "EksaranaNam Dharma" which means taking shelter in one God and that is Krishna form of Vishnu, and dispelled the darkness of ignorance, superstition and irrational belief and practices. Moreover, religious institutions of the movement like Namghars (prayer hall) and Satras (monasteries) which were the product of the movement had a very influencing role in the social life of the people in the medieval period because these institutions worked both as a common platform and a democratic platform for the people. This paper is an attempt to study the Neo-Vaishnavite movement of Sankaradeva and its contribution in the formation of an egalitarian society.

Sankardeva was not only the father of Assamese drama and stage but also pioneer of dramatic movement of Assam as well as India. Sankardeva had been influenced by classical Sanskrit drama and folk drama institutions of India. During his twelve years pilgrimage, Sankardeva had been familiar with the folk institution of different parts of India. As a result he gave a new dimension in play writing, which is known as “Ankiya Naat” According to Dr. B. L. Baruah, “The pre Vaisnavite Oja-Pali dance recital might have given to Sankardeva the basic idea for the production of Ankiya Naat. It may, therefore, be reasonably presumed that the recital of Kāvya, Oja-Pali choral singing and secular shows of other parts of India might have jointly contributed to the risk of the fully developed drama in Assamese”. The process led of Sankardeva to the growth of a new dialect (Brajawali) was unique language of vernacular style. The dressing and painting style of the actors of Sankardeva plays was really uncommon. The use of masks by the actors was really unbelievable. On the other hand the lighting style in the stage of Ankiya drama was extra ordinary. To find out, how Ankiya Naat lined up all the parts of one act play categorically and it continues its gravity from starting to end, how his plays inspired and entertained the Assamese masses with their educative value and how he skilfully designed his various ideas in a proper and systematic way, I try to prepare my research paper on the topic “Assamese Dramatic movement and Srimanta Sankaradeva”

Indian Anthropologist

Simashree Bora

This paper intends to understand the transformative nature of neo-Vaishnavism and the revivalist nature of Vaishnavite movement in the colonial and post-colonial era. Established and proliferated during medieval Assam, Vaishnavism became a strong religious order which instituted Sattra, the Vaishnavite monasteries in the entire region. However, changes occurred owing to conflict of ideas and dissemination of ideologies which led to disintegration of Vaishnava sect into several sub-sects. Contextualising these transformations within a historical period, the paper tries to look into the changing nature of religiosity and perpetuation of conflicts in the early 20 th century. In this regard, the paper interrogates the emergence of Sankaradeva Sangha as an independent Vaishnavite organisation which brought a major shift within Vaishnavism. Its formation and gradual proliferation in Assam is seen as the first event in the history of modern time when Vaishnava ideology was taken out of the fold of the Sattras which were the sole custodian of Vaishnavism. Thus, the paper tries to understand the organisational structure the Sangha, its existence and pattern of functioning in Assam.

Dhurjjati Sarma

Digboi Mahila Mahavidiyalaya

Abhijit Seal

The role of Srimanta Sankardev in transforming Bhakti Movement through his 'Eka Saran Naam Dharma' is unparrableable. From the starting point of Bhakti Movement in India, the role of Srimanta Sankardev is immense and he has been the pioneer of the Neo-Vaishnavism that came out as a result of propogation of Bhaktism in India and it reaches its ultimate height through his disciple Madhadeva. His attitude towards the movement also made him the first 'Cultural Nationalist' of Assam. In the present paper, the author will try to investigate the role of Srimanta Sankardev in creating cultural nationalism/ nationalistic consciousness among the Assamese people in order to create harmony, empower Assamese folks and safeguard the culture and society of Assam from the future challenges. He did this with the help of his various hymns, Bhaonaas, Borgeets and literary text such as Kirtan Ghosha etc. He used Naamghars as a hub for socio-cultural and economic development of the State by empowering the people from agricultural society in particular through the introduction of Prasad System.

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Accoring to the 1991 census, the population of Assam is 22 million, 89 percent of which is rural. Assamese-speaking Hindus represent two-thirds of the state's population and indigenous Tibeto-Burman tribal groups make up another 16 percent of the total (estimate). More than 40 percent of Assam's population is thought to be of migrant origin. The term "Assamese" is often used to refer to those who are citizens of Assam. Native Assamese, Mymenshingy settlers (from Bangladesh) and tea-garden laborers are thus included in its coverage. The term can also be used to describe the indigenous or long-settled inhabitants of this northeastern state. The language of the native people of Assam is called Assamese.

The state has the largest number of tribes within their variety in tradition, culture, dresses, and exotic way of life. Most tribes have their own languages; some of their traditions are so unique and lively that these causes wonder to others. Boro (or Kachari), Karbi, Kosh-Rajbanshi, Miri, Mishimi and Rabha are also among these tribes exhibiting variety in tradition, culture, dresses, and exotic way of life. Assamese is the principal language of the state and is regarded as the lingua franca of the whole northeast India. The Assamese language is the easternmost member of the Indo-European family. Although scholars trace the history of Assamese literature to the beginning of the second millenium AD, yet an unbroken record of literary history is traceable only from the 14th century.

During the six hundred years of ruling, the Ahom dynasty managed to keep the kingdom, independent from Mughal, the muslin invaders of India before the British, as well as other invaders though Mughal attacked Assam seventeen times. During this era, the Assamese society was exogenous. The British entered Assam in 1824 as tea planter which was the starting point of the destruction of Ahom dynasty.

Along with the British, the immigrants entered Assam from India together with their traditional believes such as caste system and dowri system. Some of the immigrants become a part of the Assamese society, and the other still practice their traditions.

A majority of the Assamese is the Vaishnavas (a sect of Hinduism). The Vaishnavas do not believe in idol worshiping and perform Namkirtana where the glory of Lord Vishnu is recited. The other religions such as Budhism, Christianity, Hinduism, Islam etc. are also practiced in Assam. The national festival of Assam is the Bihu which is celebrated in three parts during a year with great pomp and grandeur by all Assamese, irrespective of caste, creed or religion. Bengali-speaking Hindus and Muslims represent the largest minorities, followed by Nepalis and populations from neighboring regions of India. About a quarter of the population is Muslim. Most Muslims are recent settlers from Bangladesh, although there have been some Muslims in Assam for several centuries. The older Muslims are well-integrated with the society.

Artist and sculptors, masons and architects, and others practicing minor crafts such as weavers, spinners, potters, goldsmiths, artisanns of ivory, wood, bamboo, cane and hide flourished in Assam from ancient times. Weaving is the traditional craft of the Assamese, and the women of almost every household take pride in their possession of a handloom. They use their handloom to produce silk and (or) cotton clothes of exquisite designs. The Eri, Muga and Pat are the important silk products of Assam. The scientific name given to the worms which produce the muga silk is Antehra Assam---due to the fact that these worms cannot survive in any other climates other than the climate of the Northeast. Gandhiji complimented the Assamese weavers as artists who could weave dreams in their loomes. Cultural Life The cultural life of Assam is interwoven with the acitivies of two important cultural and religious institutions: the satras (the seat of a religious head, the satradhikar) and the naamghar (the house of names or the prayer hall). The satras hve been in existence for more than 400 years.

Most of the native population of Assam is Vaishnavite Hindu. Villagers generally associate on the basis of membership of a local center of devotional worship called "nam ghar" or "the house of names" (of God), whose members describe them as "one people" or "raij". Villages are usually made up of families from a number of distinct castes. The caste system, although it exists, is not as prominent as in other parts of India.

Among the Assamese, a form of Hinduism exists with two contrasting emphases, that of caste and sect. In caste, one finds polytheism, hierarchy, membership by birth (inherited status), collective ideas of humanity (caste groups), mediation of ritual specialists, rites conducted in Sanskrit through priests, complexity and extravagance of ritual, multiplicity of image, and salvation through knowledge or works. In sects, one finds monotheism, egalitarianism among believers, membership by invitation (acquired status), individual ideas of humanity (individual initiates), direct access to spiritual revelation, worship conducted in the verncular by the congegration, simplicity of worship, incarnation of God in the written word, and salvation through faith and mystical union.

The most important social and cultural celebrations are the three Bihu festivals observed with great enthusiasm irrespective of caste, creed and religious affinity. The Bohag Bihu, celebrated in mid-April, is the most important one. It is also known as Rangaali Bihu ("rang" means merry-making and fun). It is observed by dancing and singing in open spaces as well as in the houses. The second important Bihu, Magh Bihu, is a harvest festival celebrated in mid-January. It is celebrated with community feasts and bonfires. It is also known as the Bhogaali Bihu ("bhog" means enjoyment and feasting). The third Bihu festival is observed in mid-October. It is also known as the Kangaali Bihu ("kangaali" means poor) because by this time of the year which is before the harvest is brought home, the stock of foodgrains is low in a common man's house.

The Assamese also observe pan-Indian religious festivals such as Durga Puja, Dol-jatra or Fakuwa, Janmastami, and the Eids.

Another important aspect of the cultural life of the peopel of Assam, particularly the women, is weaving of fine silk and cotton cloths of various floral and other decorative designs.

Photo of Xiba Doul in Sibsagar (Xibaxagor) was taken by Chandan Mahanta of St. Louis

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Translation of "Assamese" into Assamese

Piglet, অসমিয়া, অসমীয় are the top translations of "Assamese" into Assamese. Sample translated sentence: Assamese ↔ Assamese

The Indo-Aryan language spoken by the majority people in the state of Assam, NE India [..]

English-Assamese dictionary

language [..]

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Automatic translations of " Assamese " into Assamese

Translations with alternative spelling

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I love you more than my life.

Less frequent translations

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• গছৰ পাত সেউজীয়া

Phrases similar to "Assamese" with translations into Assamese

• we are assamese new generation আমি অসমীয়া নৱ প্ৰজন্ম
• Bohag Bihu is one of the major festival of Assam commonly known as Rongali Bihu. the Assamese new year starts with the month Bohag. the word "Rongali"is derived from "Rong" which means Happin Bohag Bihu is one of the major festival of Assam commonly known as Rongali Bihu. the Assamese new year starts with the month Bohag. the word "Rongali"is derived from "Rong" which means
• anglo-assamese dictionary trapezium
• My mother tongue is Assamese My mother tounge is Assamese
• তেখেত চরকারী চাকৰিয়াল in Assamese তেখেত চরকারী চাকৰিয়াল in Assamese
• Assamese Project অসমীয়া প্রকল্প
• Our English to Assamese translation is carried by linguist whose native language is Assamese and has expertise for the required subject. Our translators are well-updated and stay abreast of t Our English to Assamese translation is carried by linguist whose native language is Assamese and has expertise for the required subject. Our translators are well-updated and stay abreast of t
• speak or first latter of assamese consonent ka

Translations of "Assamese" into Assamese in sentences, translation memory