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 the later immigrant Tibeto-Burman and the Indo-Aryan peoples during prehistoric times. The last wave of migration was that of the Tai/Shan, who later formed the idea of Assamese culture and its identity. The Ahoms, later on, brought some more Indo-Aryans like the Assamese Brahmins and Ganaks and Assamese Kayasthas to Assam. The culture of Assam is traditionally a hybrid one, developed due to the cultural assimilation of different ethno-cultural groups under various political-economic systems in different periods of its history.

According to the epic Mahabharata and on the basis of local folklore, people of Assam (Kiratas) probably lived in a strong kingdom under the Himalayas in the era before Jesus Christ, which led to early assimilation of various Tibeto-Burman and Austro-Asiatic ethnic groups on a greater scale. Typical naming of the rivers and spatial distribution of related ethno-cultural groups also support this theory. Thereafter, western migrations of Indo-Aryans such as those of various branches of Irano-Scythians and Nordics, along with mixed northern Indians (the ancient cultural mix already present in northern Indian states such as Magadha), enriched the aboriginal culture, and under certain stronger politico-economic systems, Sanskritisation and Hinduisation intensified and became prominent. Such an assimilated culture, therefore, carries many elements of source cultures, of which exact roots are difficult to trace and are a matter for research. However, in each of the elements of cultures in Assam, i.e., language, traditional crafts, performing arts, festivities, and beliefs, either indigenous local elements or the indigenous local elements in Sanskritised forms are always present.

It is believed that Assamese culture developed its roots over 750 years as the country of Kamarupa during the first millennium AD of Bodo-Kachari people assimilation with Aryan, which is debatable as the idea of Assam as an entity was not present. The first 300 years of Kamarupa were under the great Varman dynasty, 250 years under the Mlechchha dynasty, and 200 years under the Pala dynasty. The records of many aspects of the language, traditional crafts (silk, lace, gold, bronze, etc.) are available in different forms. When the Tai-Shans entered the region in 1228 under the leadership of Sukaphaa to establish the Ahom kingdom in Assam for the next 600 years, again a new chapter of cultural assimilation was written.

Symbolism is an important part of culture in Assam. Various elements are being used to represent beliefs, feelings, pride, identity, etc. Symbolism is an ancient cultural practice in Assam, which is still very important for the people. Tamulpan, Xorai, and Gamosa are three important symbolic elements in Assamese culture.

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

Xorai, a traditional symbol of Assam, is a manufactured bell-metal object and an article of great respect and is used as a container-medium while performing respectful offerings. It is an offering tray with a stand at the bottom, similar to those found in East and South East Asia. There are Xorais with or without a cover on the top. Traditionally, Xorai is made of bell metal, although nowadays they can be made from brass and/or silver. Hajo and Sarthebari are the most important centers of traditional bell-metal and brass crafts, including Xorais. Xorais are used as an offering tray for tamul-pan (betel nuts and betel leaves) to guests as a sign of welcome and thanks, and as an offering tray for food and other items placed in front of the altar (naam ghar) for blessing by the Lord, as a decorative symbol in traditional functions such as during Bihu dances, and as a gift to a person of honor during felicitations.

The Gamosa is an article of great significance for the people of Assam. Literally translated, it means ‘something to wipe the body with’ (Ga = body, mosa = to wipe). Its original term is Gamcha; interpreting the word “gamosa” as the body-wiping towel is misleading. It is generally a white rectangular piece of cloth with primarily a red border on three sides and red woven motifs on the fourth (in addition to red, other colors are also used). Though it is used daily to wipe the body after a bath (an act of purification), the use is not restricted to this. It is used by the farmer as a waistcloth (tongali) or a loincloth (suriya); a Bihu dancer wraps it around the head with a fluffy knot. It is hung around the neck at the prayer hall and was thrown over the shoulder in the past to signify social status. Guests are welcomed with the offering of a gamosa and tamul (betel nut), and elders are offered gamosas (bihuwaan) during Bihu. It is used to cover the altar at the prayer hall or cover the scriptures. An object of reverence is never placed on the bare ground but always on a gamosa. One can, therefore, very well say that the gamosa symbolizes the life and culture of Assam. Significantly, the gamosa is used equally by all, irrespective of religious and ethnic backgrounds.

At par with Gamosa, there are beautifully woven symbolic clothes with attractive graphic designs being used by different cultural ethno-cultural groups as well. There were various other traditional symbolic elements and designs in use, which are now found only in literature, art, sculpture, architecture, etc., or used only for religious purposes (in particular occasions). Embodied in every thread, the Assamese Gamosa holds a profound place within the heritage of Assamese culture. This piece of fabric is not merely an accessory; it is a living testament to the rich heritage and traditions of Assam. In this exploration of the brief history of Assamese Gamosa, we delve into the intricate history, cultural symbolism, and versatile functions of the Gamosa, bringing to light its timeless significance and glory.

Paintings of Assam

Assam’s artistic heritage is interwoven with a myriad of expressions, each capturing the essence of its history, culture, and spirituality. One of the most captivating facets of this artistic legacy is the Assamese scroll painting, a treasure trove of visual narratives. It is a unique form of art, often referred to as “Pattua painting,” “scroll painting,” or even “pattachitra,” and this form of art encapsulates myths, legends, historical events, and spiritual tales in intricate and vibrant compositions. Originating from the heart of the seven sister states in North-East India, Assamese scroll painting is a testament to the profound influence of Vaishnavism, the spiritual renaissance led by luminaries like Sankardev, and the creative genius of artisans who brought these tales to life. This art form not only showcases the artistic prowess of the creators but also embodies the cultural richness, spiritual fervour, and historical significance that have shaped the identity of Assam over centuries.

The artistic legacy of Assam finds a captivating expression in the realm of manuscript painting, a tradition that blossomed in resonance with the wave of Vaishnavism. The emergence of the manuscript painting tradition in Assam can be attributed to the direct influence of Neo-Vaishnavism, which was introduced by the esteemed leader, social reformer, and Vaishnava saint Sankardev (1449–1568 A.D.). The majority of these manuscripts were meticulously crafted using locally sourced and processed materials. Spanning from the 16th to the 19th centuries, this period witnessed a prolific production and replication of manuscript paintings, bearing the indelible mark of Assam’s cultural continuum.

Delving into antiquity, Assam’s artistic journey unfurls through time, from prehistoric origins to the culmination of the Ahom dynasty’s rule in 1826 A.D. Tracing back to its earliest mentions, a compelling anecdote emerges from the references in the Harivamsa and Dwarika-Lila, both ultimately derived from the Mahabharata. One notable mention is that of Chitralekha of Sonitpura, recognized as a prominent painter who created a sketch of Aniruddha, the grandson of Sri Krishna. Another significant reference appears in Banabhatta’s Harsacharita, composed in the 7th century A.D., where it is documented that King Bhaskara of Kamarupa, a friend of King Harsa of Kanauj, presented the latter with “elaborately carved boxes containing panels for painting along with brushes and gourds.”

The stories of gods and goddesses, the epic tales of the Ramayana and Mahabharata, and the divine Leelas of Krishna provided a rich tapestry of narratives that could be translated onto canvas. The artists’ ability to infuse these stories with deep emotion and spiritual fervour gave rise to a unique form of art that not only captured the teachings of Vaishnavism but also made them accessible to the masses, reflecting a profound cultural and spiritual resonance.