The roots of culture in Assam go back almost five thousand years when the first wave of humans, the Austroasiatic people, reached the Brahmaputra valley. They mixed with later immigrant Tibeto-Burman and Indo-Aryan peoples throughout prehistoric times. The last wave of migration was that of the Tai/Shan, who later contributed to shaping Assamese culture and identity. The Ahoms further brought Indo-Aryans such as Assamese Brahmins, Ganaks, and Kayasthas to Assam.

The culture of Assam is traditionally a hybrid one, developed through the cultural assimilation of various ethno-cultural groups under different political and economic systems throughout its history.

According to the epic Mahabharata and local folklore, the people of Assam (Kiratas) probably lived in a strong kingdom under the Himalayas in the era before Christ, which led to early assimilation of various Tibeto-Burman and Austroasiatic ethnic groups on a greater scale. The typical naming of rivers and the spatial distribution of related ethno-cultural groups also support this theory.

Later, the western migrations of Indo-Aryans such as various branches of Irano-Scythians and Nordics, along with mixed northern Indians (from ancient cultural regions such as Magadha), enriched the aboriginal culture. Under stronger political and economic systems, Sanskritisation and Hinduisation intensified and became more prominent. Such an assimilated culture, therefore, carries many elements of diverse source cultures, whose exact roots are difficult to trace and remain subjects of research.

However, in every element of Assamese culture - language, traditional crafts, performing arts, festivities, and beliefs - either indigenous elements or indigenous elements in Sanskritised forms are always present.

It is believed that Assamese culture developed its roots over 750 years during the era of Kamarupa in the first millennium AD, marked by the assimilation of the Bodo-Kachari people with the Aryans. However, this is debatable, as the concept of "Assam" as an entity did not yet exist. The first 300 years of Kamarupa were ruled by the Varman dynasty, followed by 250 years under the Mlechchha dynasty, and 200 years under the Pala dynasty. Records of various aspects of language, traditional crafts (such as silk, lace, gold, and bronze) are available in different forms.

When the Tai-Shans entered the region in 1228 under the leadership of Sukaphaa to establish the Ahom kingdom, a new chapter of cultural assimilation began, lasting nearly 600 years.

Symbolism is an important aspect of Assamese culture. Various elements are used to represent beliefs, feelings, pride, and identity. Symbolism is an ancient cultural practice in Assam and remains highly significant today. Tamulpan, Xorai, and Gamosa are three of the most important symbolic elements in Assamese culture.

Tamul-paan (areca nut and betel leaves), or guapan (with gua from the Bodo-Chutia language), are considered offerings of devotion, respect, and friendship. This is an ancient tradition rooted in aboriginal culture and followed since time immemorial.

Xorai, a traditional symbol of Assam, is a crafted bell-metal object of great respect. It is used as a container while making respectful offerings. Shaped like an offering tray with a stand at the bottom, similar to those found in East and Southeast Asia, it can be made with or without a cover. Traditionally made of bell metal, Xorais are now also made of brass or silver. Hajo and Sarthebari are the most important centers of traditional bell-metal and brass crafts, including Xorais.

Xorais are used to offer tamul-paan (betel nut and leaves) to guests as a gesture of welcome and gratitude. They are also used for offerings placed in front of the altar (naamghar), as decorative symbols in functions such as Bihu dances, and as honorary gifts during felicitations.

The Gamosa is an article of deep significance to the people of Assam. Literally translated, it means "something to wipe the body with" (Ga = body, mosa = to wipe), though interpreting it merely as a body-wiping towel is misleading. Its original term is Gamcha.

It is usually a white rectangular piece of cloth with a red border on three sides and red woven motifs on the fourth. Though commonly used to wipe the body after bathing (a ritual act of purification), the Gamosa serves many other roles.

A farmer may wear it as a waistcloth (tongali) or loincloth (suriya). A Bihu dancer wraps it around the head. It is hung around the neck in prayer halls and was once draped over the shoulder to signify social status. Guests are welcomed with a Gamosa and tamul. Elders receive bihuwaan (Gamosas) during Bihu. It is used to cover altars or scriptures and to place under objects of reverence.

Thus, the Gamosa truly symbolizes the life and culture of Assam. Importantly, it is used by people across religious and ethnic lines.

Parallel to the Gamosa, various ethnic communities in Assam have their own beautifully woven symbolic garments with graphic designs. Other traditional symbolic elements are now preserved in literature, art, sculpture, architecture, or used only for religious purposes on special occasions.

Every thread of the Assamese Gamosa carries the heritage of Assamese culture. It is not merely an accessory but a living testament to Assam’s cultural richness, tradition, and timeless glory.

Paintings of Assam

Assam’s artistic heritage is interwoven with myriad expressions that capture the essence of its history, culture, and spirituality. One of its most captivating art forms is the Assamese scroll painting, often referred to as Pattua painting, scroll painting, or pattachitra. These paintings narrate myths, legends, historical events, and spiritual tales through intricate and vibrant compositions.

Originating from the heart of Northeast India, these scrolls reflect the profound influence of Vaishnavism, particularly the spiritual renaissance led by reformers like SrimantaSankardev. These artworks not only display creative mastery but also encapsulate the cultural richness, spiritual depth, and historical narratives of Assam.

The tradition of manuscript painting flourished with the rise of Neo-Vaishnavism, introduced by the saint and reformer Sankardev (1449–1568 AD). These manuscripts were created using locally sourced materials and reached their peak between the 16th and 19th centuries, preserving Assam’s cultural continuity through detailed visual storytelling.

Tracing even further back, Assam’s artistic journey begins in antiquity. References to artists and paintings appear in texts like the Harivamsa and Dwarika-Lila, derived from the Mahabharata. One such anecdote tells of Chitralekha of Sonitpura, a renowned painter who sketched Aniruddha, the grandson of Lord Krishna.

Another reference comes from Banabhatta’sHarshacharita (7th century AD), which notes that King Bhaskara of Kamarupa gifted King Harsha of Kanauj "elaborately carved boxes containing painting panels, brushes, and gourds."

The epic stories of the Ramayana, Mahabharata, and Krishna Leela offered a vibrant canvas for artistic expression. The ability of these artists to infuse deep emotion and devotion into their work made these stories accessible to all, marking a profound cultural and spiritual awakening.

Article Contributed by Kiran Jha