Abstract
In medieval Assam, the great saint-scholar Srimanta Sankardeva (1449–1568 CE) established a wide range of creative and cultural achievements that have persisted till the present day. He changed the socio-cultural landscape of the area by establishing new literary genres (Borgeets, Ankia Naat), performing arts (Bhaona, Sattriya dance), visual arts (Vrindavani Vastra, mask art, temple architecture), and institutional structures (Namghars, Sattras). In addition to being aesthetically pleasing, these developments were intricately linked to the devotional philosophy of Ekasarana Dharma, which places a strong focus on social equality, communal involvement, accessibility, and moral reform. Under Sankardeva's tutelage, the interaction of traditional idioms, vernacular language, and classical antecedents allowed the artistic forms to endure, adapt, and become part of Assamese identity throughout generations, as well as to proliferate quickly during his own lifetime. Specifically, the utilization of theater and music helped close the literacy gap, and the visual and material arts provided focal points for devotion, education, and community identity.
In order to understand how and why the artistic and cultural forms that Sankardeva started survived, what changes they endured, and how they still influence Assamese culture now, this study explores their nature, origin, evolution, and ongoing resonance. It highlights distinctive elements by contrasting them with other regional Bhakti movements and drawing on literary works, historical documents, oral traditions, and modern creative activity. The investigation's main focus is on the functions of organizations like Sattras and Namghars, the relationship between art and religious devotion, and the ways in which Sankardeva's inventions became ingrained in popular culture. According to the findings, Sankardeva's inventions endure not just because of tradition but also because of their adaptability, collective ownership, and the cultural infrastructures he helped create, such as temple halls, monastic institutions, and performance spaces.