# Auniati Satra

Sri Sri Auniati Satra is a satra or monastery located in the Majuli river island in Assam, India, that adheres to the Brahma Sanghati of the Ekasarana Dharma, a socio-religious and cultural movement initiated by Srimanta Sankaradeva, who was born in 1449 CE. It is one of the four "raj satras" or royal satras associated with the Ahom dynasty. It is the first satra patronised by the kingdom. It is usually believed that this satra was established in the year 1653 CE, with the initiative of Ahom king Jayadhwaj Singha, the first head monk or satradhikar being Sri Sri Niranjana Deva Goswami, even though different opinions exist.
The monks of the satra are udaseen Vaishnavas, meaning, they are celibate and avoid every worldly affair to focus entirely on Krishna, who is the supreme deity in Ekasarana Dharma and considered to be Param Brahma, the ultimate reality. Out of the sari bostu, or the four objects of prime importance in Ekasarana, namely Deva, Naam, Guru and Bhokot, Deva is given the most importance. Krishna is worshipped as Gobindo Mohaprobhu in this satra. Monks are trained in the thoughts of Sankaradeva and other preceptors, as well as Satriya life, theatrical performance called bhaonas, playing instruments like khol and taal and Sattriya dance. Many festivals, like Paal Naam, Ras Lila, Janmashtami, tithis of Sankaradeva and Madhavadeva, Bihu etc. are celebrated in this satra.

## Etymology

The name "auniati" is traditionally believed to have come from the words "auni", which is a variety of betel and "ati", which means a place with high altitude. It was built at an elevated place where the auni variety of betel used to grow, giving the satra its name. Kavichandra Dvij, in his "Keshava Charita Pada", writes:
"Aunipan ek brikhyot asil
Tar xomipot zotu xotro xazisil
Etekexe auni asi nam xotro kohe
Dokhyine Dihing nodi mohabege bohe"
(There was an auni betel tree
Near that a satra was built
Therefore, it is named Auni Asi Satra
In its south, the river Dihing flows fast)

## History

The exact year in which the satra was established is a matter of debate. The most commonly accepted theory places the origin of the satra in 1653 CE. This was the time when the area was under Ahom rule, with Sutamla as the king. The establishment of the satra was a part of his bid to provide patronage to the Hindu faith, whereby he asked the pathak of the Kurubahi Satra to set this new satra up. After the establishment of the satra, he adopted the Vaishnava faith and received the name Jayadhwaja Singha from the first satradikar of the Auniati Satra. However, other historians believe that the satra was actually established at the behest of Sutamla's predecessor king Sutingpha in the year 1644 CE. Yet another opinion is that Jayadhwaj Singha got it established as a "raj satra" in 1656, donating land and paiks or labour. The Satsari Assam Buronji states that the foundational pillar of the home of the Gosain was laid in 1656 CE. Auniati was the first satra to be patronised by the Ahom kingdom.
The Sri Sri Auniati Satra is associated with the Brahma Sanghati, one of the four orders of Ekasarana satras. It is the most tolerant of Brahminical practices out of the four, and has historically been headed by Brahmin monks. This sanghati has historically maintained ties with the Koch and Ahom monarchy. The founder of this sanghati, Sri Sri Damodaradeva, had initiated Koch king Naranarayana into the Ekasarana fold. On the other hand, the first satradhikar of the Auniati Satra, Sri Sri Niranjana Deva Goswami had initiated the Ahom king Jayadhwaj Singha into the Vaishnava fold, effectively Sanskritising the dynasty. While the Ahoms, who migrated from southeastern China in the 1200s had their own religion, they began adopting Hindu ways since the time of Suhungmung, particularly Brahminical Shakta ways, often persecuting Ekasarana monks. Despite this, the Ahom dynasty's formal adoption of Hinduism only took place with Jayadhwaja Singha's initiation into the Vaishnava fold under the Sri Sri Auniati Satra. The Auniati Satra became one of the four "raj satras" or royal satras, the others being Dakhinpat, Garamur and Kuruwabahi. The Ahom kings considered Auniati to be of the highest position among the various satras. After the initiation of Jayadhwaja Singha, the Ahom kings largely spared the Vaishnavas of the Brahma Sanghati from persecution, but continued to persecute the monks of the satras of the other sanghatis (except during the rule of Gadadhara Singha, where even the satras of the Brahma Sanghati faced persecution).
The relationship between satras of the Brahma sanghati and others has been complex historically. During the reign of Jayadhwaj Singha, the abbot of the Mayamara Satra, one of the primary satras of the Kal Sanghati, had to go into hiding in fear of persecution by the king. It was at the instance of the Auniati abbot that he was brought back. During the reign of Gadadhara Sungha's son, Rudra Singha, satras of the Brahma Sanghati were patronised (Rudra Singha even accepted initiation under the Auniati satradhikar Sri Sri Harideva Goswami), while restrictions were placed on other satras. Non-Brahmin satradhikars were barred from initiating Brahmin disciples by the king. This was done in a meeting where both Brahmin and non-Brahmin mahantas were present, and allegedly, the Brahmin Mahantas sided with the king, infuriating the non-Brahmin Mahantas. During the reign of his son Siva Singha, the stature of Shaktism rose even more. Following astrological advice, Siva Singha offered his throne to his three queens, Phuleswari Devi, Ambika Devi and Sarveswari Devi, with Phuleswari being the chief queen. Phuleswari Devi was a staunch Shakta and tried to make Shaktism the state religion. Once, she invited the adhikars of the major satras to a Durga Puja function and after the event, made the mahantas and gosains of other sanghatis bow their heads before the satradhikars of the Sri Sri Auniati and the Sri Sri Garamura Satra, further infuriating them. During the Moamaria rebellion against the Ahom monarchy, which took place from 1786 to 1789, the rebels who were associated with the Kal Sanghati burned the royalist satras, including the Auniati Satra.

### Satradhikars

The first head monk or satradhikar of this satra was Niranjanadeva Goswami and the current one is Pitambaradeva Goswami. The following is the list of the satradhikars of Auniati Satra:
* Sri Sri Niranjana Deva Goswami (1653 to 1658 CE)
* Sri Sri Keshavadeva Goswami (1658 to 1726 CE)
* Sri Sri Ramachandradeva Goswami (1726 to 1727 CE)
* Sri Sri Damodaradeva Goswami (1727 to 1737 CE)
* Sri Sri Harideva Goswami (1737 to 1760 CE)
* Sri Sri Pranaharideva Goswami (1760 to 1785 CE)
* Sri Sri Lakshminathadeva Goswami (1785 to 1804 CE)
* Sri Sri Padmapanideva Goswami (1718 to 1821 CE)
* Sri Sri Kusharadeva Goswami (1821 to 1838 CE)
* Sri Sri Dattadeva Goswami (1838 to 1904 CE)
* Sri Sri Kamalachandradeva Goswami (1904 to 1922 CE)
* Sri Sri Leelakantadeva Goswami (1922 to 1926 CE)
* Sri Sri Hemachandradeva Goswami (1926 to 1983 CE)
* Sri Sri Vishnuchandradeva Goswami (1983 to 1998 CE)
* Dr. Sri Sri Pitambaradeva Goswami (1998 CE to present)

## Organisation and activities
### Deity

Being a part of the Ekasarana Dharma, Krishna is worshipped as the supreme deity. Adhering to the Brahma Sanghati, the worship of idols is allowed in this satra, unlike some other sanghatis. The primary deity is worshipped as Sri Sri Gobindo Mohaprobhu, and his idol was brought in from Jagannath Puri in what is now the Indian state of Odisha. In addition, other idols of Krishna are also worshipped, namely, Bansigopala, Madana Mohana and Bhuvana Mohana, who are all worshipped together with Gobindo Mohaprobhu. During the time of Raslila, Sri Sri Gobindo Mohaprobhu is placed in a throne and worshipped.

### Monkhood and responsibilities

The overall responsibility of overseeing all the activities of the Satra, like in other satras, rests on the head monk, or the Satradhikar. Following the satradhikar, the next highest position is held by the Deka Adhikar. Auniati monks are kewoliya, which means they are celibate. They are udaseen Vaishnavas (literally, indifferent), meaning they leave every worldly thought and focus entirely on Krishna. Many join the satra as monks at very young ages. The satra arranges for both their formal (secular) education and training on the thoughts of Sankaradeva, Sattriya or monastic culture and the rules of monkhood. Young monks leave ties with their families, reside in the satra premises and partake in its activities. They are taught the art of Gayan Bayan, which is singing (particularly the works of preceptors such as the borgeets) and playing instruments such as the khol and taal. The style of dance developed in the satras, called Sattriya, is recognised as one of India's eight major classical dance forms by the Sangeet Natak Akademi, the Government of India and other scholars of Indian culture. Natua, Apsara, Sutradhar, Ozapali (Panchali and Dulari), Sali, Jumura, Krishna Gopi Nritya, Maati Akhara and Gayan-Bayan are some of the dances practiced in this satra. In addition, theatrical performances called bhaonas are practiced and performed on various occasions.
The laity who wish to associate with the satra but are unable to adopt monkhood in its entirety are initiated into the fold via institutions called xoron and bhojon. Xoron luwa (literally, taking shelter) is the ceremony whereby a member of the laity accepts the Satradhikar as guru, and vows to follow certain principles preached in the Ekasarana dharma, such as devotion to Krishna, forgoing the consumption of alcohol, treating guests at home well etc. Bhojon luwa is a more extensive version of it.

### Festivities

Several festivals are organised in the Satra, associated with the Ekasarana faith, such as the anniversaries of preceptors and various occasions marking events in the life of Krishna. A major festival associated with the Auniati Satra is the Pal Naam, which is celebrated every year in the Assamese month of Kati. A boat is placed at the centre and the naam or name of God is sung, symbolising that the name of God is the boat that would carry one from this world of maya to moksha. Other festivals celebrated include the tithis or anniversaries of the two principal preceptors of Ekasarana Dharma, Srimanta Sankaradeva and Sri Sri Madhavadeva; the Ras festival, celebrating Krishna's dance with the gopis of Braj; Janmashtami, celebrating the birth of Krishna; the three Bihus, marking different phases of agriculture in Assam etc.

## Influence
### Performing arts

The monks of the Sri Sri Auniati Satra have been involved in numerous cultural and literary activities for centuries. The monks are routinely trained in theatre (bhaona), dance (Sattriya), singing (borgeet) and playing instruments (khol and taal). Sattriya is one of the eight major classical dance forms of India. The monks of the Sri Sri Auniati Satra are often invited as delegations for Sattriya performances at various places, including the Indian Republic Day celebrations in New Delhi; in the presence of the President of India at the Rashtrapati Bhawan and other cultural institutions such as the National Museum in Delhi and various places in India and abroad.

### Literature

The monks of the Sri Sri Auniati Satra have over hundreds of years, engaged in the writing of several manuscripts and books. Several of these are works of play, such as Godaporbo, Bhismoporbo, Bhorotagomon etc. by Sri Sri Dattadeva Goswami, Prahlad Soritro, Birat Porbo etc. by Kamalachandradeva Goswami, Tripur Toron by Lilakantadeva Goswami, Dondi Porbo, Droupodir Xomonwoy, Sri Krisnor Jonmolila, Jonmastomi etc. by Sri Sri Hemachandradeva Goswami, Jotanol Gitabhinoy, Dut Krisno, Bolisolon, Mohix Mukti etc. by Vishnuchandradeva Goswami etc.
Charita Puthis are a distinctive genre of Ekasarana literature, where hagiograpphies of the faith's gurus are written. Among the Charit Puthis, the charitas of Sri Sri Damodaradeva, Sri Sri Vansigopala Deva and Sri Sri Harideva were composed in the Sri Sri Auniati Satra itself.
In the nineteenth and twentieth centuries, the Sri Sri Auniati Satra played an important role in the development of modern Assamese literature. The first Assamese newspaper was published by Baptist missionaries, by the name of Orunodoi, in 1846. Soon after that, in the year 1871, the Sri Sri Auniati Satra began the publication of the second oldest newspaper in the Assamese language, Asam Bilasini. The Auniati satradhikar Sri Sri Dattadeva Goswami personally oversaw the procurement and use of the "Dharmaprakasha Yantra", a modern printing press, for the purpose. Some other periodicals published by the Sri Sri Auniati Satra include Assam Dipika (1976), Assam Tora (1989) etc. Currently, Sanskriti Biplav is in publication.

### Politics

The Sri Sri Auniati Satra is one of the raj satras or royal satras of the Ahom kingdom. The Ahom kingdom was established in upper Assam after a Tai prince from Mong Mao (present day southeastern China), Chao Lung Sukaphaa, migrated to Assam in 1228. While it remained relatively small for centuries, it suddenly expanded under the rule of king Suhungmung and went on to become the most influential power in the northeast of India. As a result of the expansion, by 1536, the Hindu subjects greatly outnumbered the Ahoms in the kingdom. To gain legitimacy in the Hindu society, the Ahom dynasty underwent Sanskritisation, with Suhungmung adopting the Sanskrit name Swarganarayana.
However, the formal initiation of the Ahom dynasty into Hinduism did not take place till 1648, when Sutamla became the king. Sutamla established the Sri Sri Auniati Satra and took formal initiation under its first Satradhikar Sri Sri Niranjana Deva Goswami, effectively Sanskritising the dynasty. This was a major event in the history of Assam. Sutamla adopted the name Jayadhwaj Singha following this. Following this, the Ahom state was largely lenient towards the satras of the Brahma Sanghati, while continuing the persecution of the satras of other sanghatis. Rudra Singha even provided the position of raj satra to Auniati, Dakhinpat, Garamur and Kuruwabahi and received initiation from the satradhikar of the Sri Sri Auniati Satra, Sri Sri Harideva Goswami, who was the most prominent of the Brahmin satradhikars of the time. Despite this, the relationship was not always cordial. For example, during the reign of Gadadhara Singha, even satras of the Brahma Sanghati faced persecution. Even at other times, the Ahom kings kept patronising Shaktism in opposition to Vaishnavism.

### Conservation of manuscripts and artefacts

The satra premises conserve manuscripts and artefacts dating back hundreds of years. These have either been created in the satra itself or gifted by disciples to the satra over the span of several centuries. Almost 150 manuscripts are preserved in the satra's premises, some of which include ankia nats of Srimanta Sankaradeva and Sri Sri Madhavadeva in Brajavali, Adbhut Ramayana by Raghunath Mahanta in old Assamese, Anadi Patan by Sankaradeva in old Assamese, Amara Koshha by Amar Singha in Sanskrit etc.
Several of the artefacts are those gifted by Ahom kings after taking xoron in the satra. A mat of ivory tusks, an inscription with the Srihasta Muktavali translated by Suchananda Oja etc. were gifted by Rudra Singha. He also gifted the plates used by his father Gadadhara Singha to the satra. Gajendra Chintamani, detailing how elephants are caught and tamed, illustrated by Mughal painters Dilbar and Dosai, was gifted by Siva Singha. A musical instrument named Bheri was gifted by Rajeswara Singha. He also gifted a bortaal, a musical instrument weighing 7.5 kilograms. The hendang or sword of Lachit Barphukan is also stored in the satra's museum. The satra has also received gifts from other royalties. The king of Burma Bodofa had gifted Maan Xofura to the then satradhikar Sri Sri Kusharamadeva Goswami, asking his forgiveness, as he was retreating to Burma after the invasion of Assam. Apart from royal gifts, many of the artefacts also include artistic creations by monks themselves. For example, the Rangoli Xorai, Onaroxi Lota etc. Some gifts from disciples include a Naga spear by Naga disciples and Khamti da from Khamti disciples.