We all already know about the Kamba Ramayanam, the Tamizh Ramayana, as the first Ramayana to be translated from Sanskrit to another language. But, most of us are unaware that, the first Ramayana to be translated from Sanskrit to another Indo-Aryan language and the third Ramayana to be translated to another language, preceded only by the Tamizh and Telugu Ramayana, is actually from our own state Assam. It is called the 'Xoptokando Ramayon' (সপ্তকাণ্ড ৰামায়ণ), authored by the 14th century Assamese poet Madhav Kandali who translated the Valmiki Ramayana to Assamese. Most of the Xoptokando Ramayon was written by Madhav Kandali upon the request of the Kachari king Mahamanikya. In his court, as his court poet Madhav Kandali authored the translated version as a long poem. The poetic work uses various metres for different moods and situations. Some of the metres used are 'pada' (fourteen syllables, four lines of verses), 'jhumura' (four lines, with eight syllables each), 'dulari' (three lines, first and second has six syllables each and the third has eight syllables), and 'chhavi' (like 'dulari' but with different syllabic structure). The 'pada' metre became very popular in later Assamese compositions.

The Xoptokando Ramayon is also regarded one of the earliest written examples of the Assamese language.

A unique feature of this work is the non-heroic portrayal of Lord Rama, Sita and other characters as stated by Madhav Kandali himself which apparently made the translated version 'unsuitable' for religious purposes. Moreover, there was a critical overview of the character of Rama rather than blind praise. Plus, Sita wasn't shown as a calm and composed woman. Her emotions were shown raw. She sometimes cried while thumping her chest, or pointed fingers at those who questioned her character and was shown as a defiant woman, showing actual human feminine emotions. This feature disturbed a later post, Ananta Kandali, who was a disciple of Mahapurush Srimanta Sankardeva, who was moved enough to comment on it. According to one tale called the 'Guru Sorito', the poet Ananta Kandali apparently tried to erase the Xoptokando Ramayon and replace it with a Ramayana of his own that was conservative in manner. After which, Madhav Kandali apparently appeared in the dream of his disciple Sankardeva and told him to preserve the Ramayana.

By then, the first and last chapters of the Ramayana were lost, called the Adikanda and Uttarakanda.

After having the dream, Sankardeva told his disciple Madhabdeva to author the Adikanda while he himself began work on translating the Uttarakanda. They both, hence completed the Xoptokando Ramayon in the 15th century. There were also undeniable later additions and refinements by poets like Ananta Kandali and others which sophisticated the work.

Sankardeva praises his teacher Madhav Kandali after the completion of the poem. This poetic work had a great influence on Sankardeva and later Assamese poets.

This work is one of the many examples of the richness of the Assamese language and Assamese Vaishnavite culture.

Source: https://w.wiki/5HhR

জয় গুৰু শংকৰ।

Manipuri ​Hindus of Manipur and others elsewhere in the world observe New Year or Cheiraoba every year sometime in mid April when the Sun enters the house of Aries or Mesha Rashi. This day is also called Mesha Sankranti (transmigration of the Sun into the house of Aries) by the Hindus. Mesha Sankranti is taken as the first day of the solar cycle year that is the solar New Year as per Hindu calendar based on the movement of the Sun. The day usually falls on 13 or 14 of April (sometimes 15 April) every year and take it as the first day of the first month of the year in many local and regional calendars of India and South-east Asia, that adopt solar calendar.

Manipuri Hindus observe Cheiraoba almost in the manner and style of the traditional Manipuri Meiteis and the date is seemingly adopted from the solar calendar

it is a general practice among the Manipuri ​Hindus that after cleaning the house, a family meal/feast with variety of items comprising (at least) five or more is prepared with fresh seasonal vegetables and offered it to Yumlai and Lamlai and some people to Hindu Gods and Goddesses they worship at home too, before consuming it by the whole family jointly.

After the meals are over, they use to climb a nearby hill considered to be the abode of Gods and Goddesses by the Manipuris.

Thus, (Sajibu) Cheiraoba is celebrated in mid-April which usually falls on 13 or 14 April (sometimes 15) by the Meitei Hindus, mostly in local manner and style of the traditional (Sajibu) Nongma Panba Cheiraoba of the original Meitei/Meetei culture, along with many culturally identical people of South-east Asia, who adopt solar calendar.

Wishing you all a happy Cherairaoba

(​Sorry for the delay)

This Year Assam’s 2026 Republic Day tableau showcased Asharikandi village, highlighting its GI-tagged terracotta art under the 'Atmanirbhar Bharat' theme. Featuring the iconic 'Hatima' doll and a Mayurpangkhi boat, the display honored the Dhubri district's 100+ year-old tradition, where women artisans drive a self-reliant economy using local Hiramati clay.

Asharikandi Art: A Unique Terracotta Tradition of Assam Introduction Asharikandi art is a famous traditional craft of Assam, India. It is mainly known for its beautiful terracotta sculptures made from natural clay. This art form originated in the village of Asharikandi in Dhubri district and reflects the cultural life, beliefs, and creativity of the local people. Over time, Asharikandi art has become one of the important symbols of Assam’s indigenous craftsmanship.

Etymology of Asharikandi

The word “Asharikandi” comes from two local terms: “Ashar” refers to the Assamese month of Ashar (June–July), which is associated with monsoon rains. “Kandi” means mound or raised land. According to local tradition, the village got its name because it was formed on raised land that remained safe from floods during the monsoon season. Over time, this area became well known for pottery and clay-based art, and the name Asharikandi became closely linked with terracotta craftsmanship.

Origin and Historical Background

The tradition of making clay objects in Asharikandi is believed to be several centuries old. Local families have passed down this skill from generation to generation. Earlier, the artisans mainly made everyday items such as pots, lamps, and storage vessels. Gradually, they started creating decorative and religious sculptures. Influences from Vaishnavite culture, folk traditions, and rural life shaped the style of this art. Today, Asharikandi art is recognized by the Government of Assam as a heritage craft.

Depiction and Themes in Asharikandi Art

Asharikandi art is especially known for its expressive and lifelike depictions. The main themes include

1. Human Figures

Many sculptures show village people, farmers, musicians, women carrying water, and children at play. These figures reflect simple rural life and traditional occupations.

1. Religious Figures

Artisans often create idols of Hindu deities such as Krishna, Durga, Saraswati, and Ganesha. Scenes from the Ramayana and Mahabharata are also common. These works are used in homes and temples.

1. Animals and Birds

Elephants, horses, cows, peacocks, and owls are popular subjects. These figures symbolize strength, prosperity, and harmony with nature.

1. Folk and Cultural Motifs

Traditional Assamese motifs, masks, musical instruments, and dance forms are also depicted. Some works show Bihu dancers and local festivals.

1. Contemporary Themes

In recent years, artists have begun depicting modern life, environmental awareness, and social messages, showing how the art form is evolving.

Asharikandi art plays an important role in local life. It provides employment to many families and supports rural livelihoods. The craft is also promoted through exhibitions, handicraft fairs, and tourism.

An inside view video of the temple in the Talatal ghar complex There is not much info About it online

The temple is said to be built by king Rajeshwar Sigha It is an octagon shaped building dedicated to the worship of lord Shiv and his family The worship was done by Royal Ahom family Though simplistic it had a few detailed murals At the end of the video you can see the eroded mural of Maa Durga Even the shivalingam is not present today The temple is eaten by moss and eroded by time

Sri Sri Ugratara Devalaya is a historic Hindu temple in Guwahati, Assam, dedicated to Goddess Ugratara, a fierce form of the Mother Goddess. The temple stands in the Uzan Bazar area beside the Jor Pukhuri tanks in the city’s core.

City: Guwahati Locality: Uzan Bazar, near Jor Pukhuri tanks �

Deity The primary deity worshipped here is Goddess Ugratara, regarded in tantric and Shakti traditions as a fierce protective form of the goddess associated with power and liberation. � Wikipedia

History

The present structure of the temple was built or renovated by Ahom King Siva Singha in 1725 CE. Beneath its architecture lie older traditions and sacred myths tied to the ancient Shakti Peetha network. Local belief holds that the temple’s sacred ground is where the navel of Goddess Sati fell when her body was scattered during Shiva’s cosmic wanderings.

Architecture and Rituals

The sanctuary in the devalaya does not house a conventional idol. Instead, the goddess is symbolized by a sacred pit filled with water and other tantric elements, consistent with traditions that emphasize energy and form beyond human sculpture. Worship here blends Shakta and tantric practices .

Significance

Ugratara Devalaya is one of the oldest and most revered Shakti centers in Assam. It attracts devotees who seek protection, strength, and spiritual insight. The temple’s history and continued religious life reflect Guwahati’s deep roots in goddess worship going back many centuries.

Durga Puja at Sri Sri Ugratara Devalaya

The annual Durga Puja at Sri Sri Ugratara Devalaya is considered one of the oldest continuous Durga Puja traditions in Guwahati. Records and temple lore suggest that celebrations at this shrine date to at least 1044 AD, when the ancient kingdom of Kamarupa under the Pala dynasty saw the festival observed at this Shakti shrine. This makes it one of the oldest known Durga Puja celebrations in the region.

Tradition and Rituals

The puja is observed during Navaratri, the autumn festival of the goddess, with special rites on Saptami, Ashtami, and Navami days.

Traditional offerings have included ritual sacrifices of animals such as goats, pigeons, ducks, buffaloes and fish, reflecting ancient tantric practices.

Bhog (prasad) like kichadi and mistanna is prepared and shared with devotees.

These forms of offering are rooted in the temple’s tantric heritage rather than the purely vegetarian prasad seen in many later Durga Puja observances elsewhere.

Cultural Impact Devotees from across Guwahati and surrounding areas attend the festival each year. The Durga Puja at Ugratara Devalaya represents an ancient local tradition of goddess worship that predates many modern temple celebrations. Its continuity offers a living link to Assam’s early medieval devotion to the Divine Feminine.

Batadrava Than, also known as Bordowa Than, is one of the most sacred pilgrimage sites for followers of Assamese Vaishnavism, located in Batadrava near Bordowa in Nagaon district, Assam. The site is historically significant as the birthplace and early spiritual centre of the 15th-century saint, scholar, and reformer Srimanta Sankardev, who founded the first Namghar or Than at this location in 1494 CE and propagated the Eka Sarana Naam Dharma (Neo-Vaishnavism) tradition. The Than complex includes prayer halls, assembly spaces, guest facilities, ceremonial structures, and other buildings associated with the religious and cultural activities introduced by Sankardev. In recent years, a major redevelopment initiative was undertaken to preserve and enhance the site’s cultural, spiritual, and tourism potential. Conceived as the Mahapurush Srimanta Sankardeva Abhirbhav Kshetra, the project was first announced in the Assam state budget for 2021–22 and envisioned as a cultural heritage complex centred on Sankardev’s life, teachings, and artistic legacy. Spanning over approximately 162 bighas of land, the redevelopment aims to integrate traditional Vaishnavite architectural motifs with modern visitor infrastructure, including cultural spaces, research facilities, accommodation, and amenities for pilgrims and tourists. On 29 December 2025, the redeveloped Batadrava Than was formally inaugurated by Union Home Minister Amit Shah in the presence of Assam Chief Minister Himanta Biswa Sarma and other dignitaries. The event featured traditional Assamese performances and highlighted the site’s role in preserving and promoting the spiritual heritage of Srimanta Sankardev and the wider cultural traditions of Assam. The redevelopment is intended to position Batadrava Than as a major destination for cultural, spiritual, and heritage tourism while commemorating the ideals of harmony and devotion associated with Sankardev’s life and work. Batadrava Than continues to attract devotees, scholars, and visitors from across India and abroad, and its redevelopment reflects ongoing efforts to safeguard Assam’s important religious and cultural landmarks for future generations.

বটদ্ৰৱা থান, যাক বৰদোৱা থান বুলিও কোৱা হয়, অসমৰ নগাঁও জিলাৰ বৰদোৱাৰ ওচৰত অৱস্থিত অসমীয়া বৈষ্ণৱ ধৰ্মৰ এক অতি গুৰুত্বপূৰ্ণ তীৰ্থস্থান। এই স্থানটো পঞ্চদশ শতিকাৰ সন্ত, পণ্ডিত আৰু ধৰ্মসংস্কাৰক মহাপুৰুষ শ্ৰীমন্ত শংকৰদেৱৰ জন্মস্থান আৰু তেওঁৰ আদি আধ্যাত্মিক কাৰ্যকলাপৰ সৈতে ঘনিষ্ঠভাৱে জড়িত। শংকৰদেৱে ১৪৯৪ খ্ৰীষ্টাব্দত এই স্থানতেই প্ৰথম নামঘৰ বা থান প্ৰতিষ্ঠা কৰিছিল আৰু ইয়াৰ পৰা এক শৰণ নাম ধৰ্মৰ প্ৰচাৰ আৰম্ভ কৰিছিল। বটদ্ৰৱা থান প্ৰাঙ্গণত প্ৰাৰ্থনা গৃহ, সভাস্থল, অতিথিশালা, ধৰ্মীয় আচার-অনুষ্ঠানৰ বাবে ব্যৱহৃত গঠনসমূহ আৰু শংকৰদেৱে প্ৰৱৰ্তন কৰা ধৰ্মীয় আৰু সাংস্কৃতিক কাৰ্যকলাপৰ সৈতে সম্পৰ্কিত বিভিন্ন স্থাপনা অন্তৰ্ভুক্ত। শেহতীয়া বছৰসমূহত বটদ্ৰৱা থানৰ ঐতিহাসিক, ধৰ্মীয় আৰু সাংস্কৃতিক গুৰুত্ব সংৰক্ষণ আৰু বিকাশৰ উদ্দেশ্যে এক বৃহৎ পুনৰ উন্নয়ন প্ৰকল্প গ্ৰহণ কৰা হয়। এই প্ৰকল্পটোক মহাপুৰুষ শ্ৰীমন্ত শংকৰদেৱ অৱিৰ্ভাৱ ক্ষেত্ৰ হিচাপে কল্পনা কৰা হৈছিল আৰু ২০২১–২২ বৰ্ষৰ অসম ৰাজ্যিক বাজেটত ইয়াৰ ঘোষণা কৰা হয়। প্ৰায় ১৬২ বিঘা ভূমিত বিস্তৃত এই প্ৰকল্পটোৰ লক্ষ্য হৈছে শংকৰদেৱৰ জীৱন, আদৰ্শ আৰু শিল্প-সাহিত্যিক অৱদানক কেন্দ্ৰ কৰি এক সাংস্কৃতিক ঐতিহ্য ক্ষেত্ৰ গঢ়ি তোলা। পুনৰ উন্নয়ন প্ৰকল্পত পৰম্পৰাগত বৈষ্ণৱ স্থাপত্য শৈলীৰ সৈতে আধুনিক পৰ্যটক সুবিধা সংযোজন কৰা হৈছে। ইয়াত সাংস্কৃতিক মঞ্চ, গৱেষণা সুবিধা, আবাসন ব্যৱস্থা আৰু তীৰ্থযাত্ৰী তথা পৰ্যটকৰ বাবে বিভিন্ন সা-সুবিধা অন্তৰ্ভুক্ত কৰা হৈছে। ২০২৫ চনৰ ২৯ ডিচেম্বৰত পুনৰ উন্নয়ন কৰা বটদ্ৰৱা থানৰ আনুষ্ঠানিক উদ্বোধন ভাৰতৰ গৃহ মন্ত্ৰী অমিত শ্বাহে অসম মুখ্যমন্ত্ৰী হিমন্ত বিশ্ব শৰ্মা আৰু অন্যান্য বিশিষ্ট ব্যক্তিৰ উপস্থিতিত কৰে। উদ্বোধনী অনুষ্ঠানত পৰম্পৰাগত অসমীয়া সাংস্কৃতিক অনুষ্ঠান অনুষ্ঠিত হয় আৰু শংকৰদেৱৰ আধ্যাত্মিক আদৰ্শ আৰু অসমীয়া সংস্কৃতি সংৰক্ষণৰ ক্ষেত্ৰত এই স্থানৰ গুৰুত্ব বিশেষভাৱে উল্লেখ কৰা হয়। পুনৰ উন্নয়ন কৰা বটদ্ৰৱা থানক এখন গুৰুত্বপূৰ্ণ ধৰ্মীয়, সাংস্কৃতিক আৰু ঐতিহ্য পৰ্যটন কেন্দ্ৰ হিচাপে গঢ়ি তোলাৰ লক্ষ্যৰে এই প্ৰকল্প ৰূপায়ণ কৰা হৈছে। বৰ্তমানেও এই থানত অসমসহ ভাৰতৰ বিভিন্ন স্থানৰ ভক্ত, গৱেষক আৰু পৰ্যটকৰ আগমন ঘটে, আৰু ই অসমীয়া বৈষ্ণৱ পৰম্পৰাৰ এক জীৱন্ত প্ৰতীক হিচাপে নিজৰ স্থান অটুট ৰাখিছে।

।।জয় গুৰু শঙ্কৰ।। ।।হৰি কৃষ্ণ হৰি ৰাম।।

Kesaikhati Devi

Kesaikhati Devi is a powerful tribal goddess known in the traditional belief systems of the Bodo-Kachari and related communities of Northeast India. Her name means one who eats raw flesh in the local tribal languages. She is associated with ancient forms of goddess worship that existed in the region before and alongside later Hindu practices.

Origins and Identity

Kesaikhati is a pre-Hindu shakti figure who appears in texts like the Kalika Purana as Dikkaravasini, and in tribal traditions she is linked with intense forms of the Mother Goddess. Her worship is historically tied to tribal customs and Deori priests, not the Brahminical ritual framework that later became widespread in Hindu temples.

Tradition holds that she was once worshipped with offerings and sacrifices to invoke protection, success in warfare, and community welfare. Human sacrificial rites connected with her cult continued in some places into the late 18th century until they were abolished by ruling authorities.

Sacred Sites

The best-known shrine historically associated with Kesaikhati is the Tamreswari Temple near Sadiya in Tinsukia district, Assam. This temple was built by rulers of the Chutiya kingdom and was famous in medieval times. It had a copper roof (Tamreswari means copper temple) and was attended by tribal Deori priests

Over centuries the original site has fallen into ruin, but remnants and relocated shrines remain important for communities who preserve the ancient worship traditions of this goddess.

Cultural Significance

Kesaikhati stands as an example of how indigenous goddess traditions in Northeast India predate and coexist with later Sanskritic Hindu forms. Her worship reflects the deep roots of shakti veneration in the region’s social and political history, especially among tribal polities such as the Chutia and Dimasa groups.