Karapat: the Entrance Gate of Satras in Majuli, Assam
N. Shakmacha Singh, Shrikant Gupta and D.D. Senapati
This article tries to explore the meaning,
importance, and socio-cultural relevance of Karapat, an entrance gate of Satras- the Vaishnava Monastries in Assam, especially those which are located
in the heart of Majuli Island; the largest riverine island of the world. Mājuli
was one of the nerve centers of the Neo-Vaisnavite Movement during its heydays.
It was at Mājuli (then known as Dhuwāhāt, Āhom territory) that Mahapurusha
Srimanta Sankaradeva met his foremost disciple and apostolic successor,
Madhavadeva for the very first time, in the 16th century. This
event referred to as Manikānchan Sanyog is the single most
epoch-making event in the history of the Neo-Vaisnavite Movement. After this
meeting, the Neo-Vaisnavite Movement gained momentum and the medieval Caritas
(the hagiographies) are full of references to Mājuli. It is said that
Sankaradeva established the first Satra here by planting a Bilva tree and
naming the place Belguri. Here it was again that Sankaradeva’s son-in-law
Hari, was executed under royal orders. Sankaradeva stayed at Dhuwāhāt for 14
years before proceeding to Western Assam1.
In the post-Sankara-Madhava period (17th century
onwards), Mājuli once again became one of the main centers of propagation of
Neo-Vaisnavism due primarily to the pioneering efforts of Saint
Vamsigopaladeva and his successors. An attempt has been made to bring out
the exquisite artworks endorsed in these superstructures that aesthetically
presents meaningful expressions of Vaishnava worldviews.
Karapat
A decorated massive gate-like structure that stands
at the entrance of Satra- a Vaishnava Monastery, is generally referred to as Karapat. It is regarded to have been deeply associated with the Vaishnava
concept of Bhakti or devotion. The structure adores many symbolic motifs of
mythical figures, material objects of ceremonial importance, gestures of
Satriya Nritya (Satriya Dance), scriptures, and floral decorative elements with
elaborate cultural meanings. Karapat from one Satra to the other may
structurally differ in terms of their architectural patterns but the core
meaning of the use of Karapat as a devotional entity remains the same. In the In Assamese dialect, the literal meaning of Karapat is to fold or join hands (Kar
means hand and Pat mean to join), connoting an act of prayer. Hence, the
underlying meaning of the Karapat is Bhakti or an adoration similar to the
gesture of hand shown at the time of Prayer. Karapat in its earliest form which was
prepared by wood, bamboo, and cane structure could be referred from the
manuscripts or ancient literature. Although, those structures of the 15th
or 16th Centuries have transformed into a concrete structure, one
can still find the elements of these ancient but massive wooden structures of
pillars, existing in the Namghar of Majuli Satras even today2.
The Karapat Structure appears like an entrance gate
with massive vertical pillars aligned at to lateral sides joined by a big column
together providing an open space of entrance. These pillars and columns adore
beautiful sculptures or motifs of human, animal, floral, ceremonial objects, and
mythical figures. In some Karapat they are attractively painted while some
other Karapat appears to have been painted with a single colour. Some Karapat
features with an additional extension of a roofed structure at the rear end while
some do not prefer to give this extension.
Padma Ātā nominated
his Brahman disciple, Srirāma to the Adhikārship of the
Kamalābāri Satra and passed away in that monastery. The Satras following the leadership of Kamalābāri call themselves Madhupuriyā Sampradāy,
being intimately connected with the Madhupur Satra of Koch-Behār3.
The present Karapat of Kamlabari Satra was
constructed in the last decade of the 20th Century when the current
Satradhikar (head of the Satra), Sri Narayan Chandra Goswami assumed this
prestigious post of the institution. Before the present structure, it was made
of wood, bamboo, and cane materials embodying all those elements essential and
relevant to the Satra.
Symbols used in the Karapat of Kamlabari Satra
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Shaping the Sorai on Karapat |
Sorai/Xorai:
Sorai is an object used for ceremonial purposes.
It expresses the symbol of welcome and blissful
honour and hospitality.
When guests visit the Satra, he is welcomed
by the fragrance of burning incense on
Sorai as a mark of honor.
Naamsingha:
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Naam Singha structure on Karapat |
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Naam Singha presented on the Karapat of Kamlabari Satra |
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Naam Singha; represented on Karapat |
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Naam Singha; an element of Karapat |



Singhasan: Inside the Naamghar (Prayer Hall) of the Satra (Vaishnav Monastry), one can find the installation of a huge Singhasan, a multi-tiered colorful wooden structure decorated with colorful paintings. It is an altar where the sacred scriptures of the preaching of the Lord are kept and worshipped. Among all the Satra symbols, Singhasan is believed to have carried the highest Bhakti of all the recitals of the Lord. The feet of Singhasan are shown with the figure of Tortoise which according to the Hindu belief is a representation of the Earth. It symbolizes that the Bhakti or the name of the Lord is above all and supreme. Every creature on the earth and universe is ruled by him. The seventh tiered Singhasana also represents ‘Sapta Baikuntha’, seven celestial abodes of the Lord. If it is five-tiered, it represents Kalpa Taru.
Karapat
Artists
Replica of a Karapat in IGRMS (the National Museum of Mankind)
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An imposing Karapat erected at the IGRMS, Bhopal |
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Artist from Majuli engaged in adding the decorative elements of Karapat at IGRMS |
The Indira Gandhi Rashtriya Manav Sangrahalaya, Bhopal (National Museum of Mankind) in India has initiated to construct of a replica of this unique structure as an entrance Gate No. 2 of the Museum premises. Experts and traditional artists from Assam were invited to construct the Karapat similar to that of the Kamlabari Satra of Majuli. Visitors from across the world can see this architectural form and the artwork in the museum premises. The work for the construction of Karapat in the museum started in the month of June and July 2019.
Conclusion
The
Karapat cannot be merely seen as an architecture of the Vaishnava religious
sect in Assam. It carries meaningful expressions of human creativity evolved
with an institutionalized socio-cultural life of the people of this great land.
Although, the symbols used in Satra tradition appears to be religious; it is
widely accepted by all sects of people in Assam as their integral part of
livelihood.
Acknowledgment:
Photo Courtesy: IGRMS Photo archive, Sri. Prafulla Barua, Shrikant Gupta and N. Shakmacha Singh
References:
1. Interview with
Sri Prafulla Barua, Artist, Kamlabari Satra, Majuli in August 2019 at IGRMS,
Bhopal.
3. https://shodhganga.inflibnet.ac.in/bitstream/10603/149369/11/11_chapter_03.pdf
reached
on 16/09/2019
4.
GLIMPSES OF KARAPAT (GATE) FROM MAJULI, ASSAM
(Field Photographs)
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Shri Shri Bengenati Satra Estd. 1626, Majuli, Assam |
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Shri Shri Garamur Satra, Majuli, Assam |
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Karapat at the Uttar Kamlabari Satra (Estd.)1673, Majuli,Assam |
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Shri Shri Bihimpur Satra, (Estd.1968) Majuli, Assam |
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Shri Shri Aadi Bihimpur Satra, (Estd. 1635), Majuli, Assam |
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