The Full Wiki

Culture of Assam: Wikis


Note: Many of our articles have direct quotes from sources you can cite, within the Wikipedia article! This article doesn't yet, but we're working on it! See more info or our list of citable articles.


From Wikipedia, the free encyclopedia

The culture of Assam is traditionally a hybrid one, developed due to cultural assimilation of different ethno-cultural groups under various politico-economic systems in different periods of pre-history and history.



Development of Hybrid Culture in Assam

The roots of the culture go back to almost two thousand years when the first cultural assimilation took place with Austro-Asiatic and Tibeto-Burman as the major components. With reference from the great epics Mahabharata and on the basis of the local folk lore it is also hypothised that there was probably a strong kingdom of these mixed population (of Austro-Asiatic and Tibeto-Burman origin) in the era before Christ, which led to an early assimilation at a greater scale. Typical naming of the rivers and spatial distribution of related ethno-cultural groups also support that. Thereafter, western migrations such as those of various branches of Mediterraneans, Inrano-skythians and Nordics along with (or in the form of) the mixed northern Indians (the ancient cultural mix already present in northern Indian states such as Magadha) have 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 matter of research. However, in each of the elements of Assamese culture, i.e. language, traditional crafts, performing arts, festivity and beliefs either local elements or the local elements in a Hinduised / Sanskritised forms are always present.

It is believed that under the great dynasties of Pragjyotisha-Kamrupa (Varman dynasty for 300 years, Xalostombho dynasty for 200 years and the Pala dynasty for another 200 years) during the first millennium AD, Assamese culture in its original form got developed. The records of many aspects of the language, traditional crafts (silk, lac, gold, bronze, etc), etc are available in different forms. When the Tai-Shans entered the region in 1228 under the leadership of Sukaphaa to form one of the strongest politico-economic systems (Ahom kingdom) in Assam for the next 600 years, again a new chapter of cultural assimilation was written. The original Tai-Shans assimilated with the local culture, adopted the language on one hand and on the other also influenced the main-stream culture with the elements from their own. Similarly the Koch kingdom in the western Assam and the medieval Kachari kingdoms (Kocary) and Jaintia kingdoms in the southern Assam provided stages for assimilation at different intensities and with different cultural-mix.

Vaishanav Movement, the 15th century religio-cultural movement under the leadership of great Srimanta Sankardeva (Xonkordeu) and his disciples have provided another dimension to Assamese culture. A renewed Hinduisation in local forms took place, which was initially greatly supported by the Koch and later by the Ahom Kingdoms. The resultant social institutions such as namghar and sattra (the Vaishnav Monasteries) have become part of Assamese way life. The movement contributed greatly towards language, literature and performing and fine arts. It is also noticed that many a times, Vaishnav Movement attempted to introduce alien cultural attributes and modify the way of life of common people. Brajavali a language specially created by introducing words from other Indian languages had failed as a language but left its traces on the Assamese language. Moreover, new alien rules were also introduced changing people's food habits and other aspects of cultural life. This had a greater impact on alienation of many local ethno-cultural and political groups in the later periods.

Historically, it is not difficult to understand that on one hand, during the strong politico-economic systems under stronger dynasties, greater cultural assimilations created common attributes of Assamese culture, while on the other during smaller politico-economic systems or during political disintegration, more localised attributes were created with spatial differentiation. Time-factor for such integrations and differentiations has also played extremely important role along with the position of individual events in the entire series of sequential events.

With a strong base of tradition and history, the modern Assamese culture is greatly influenced by various events those took place in the British Assam and in the Post-British Era. The language was standardised by the American Missionaries with the form available in the Sibsagar (Xiwoxagor) District (the nerve centre of the Ahom politico-economic system). A renewed Sanskritisation was increasingly adopted for developing Assamese language and grammar. A new wave of Western and northern Indian influence was apparent in the performing arts and literature.

Due to increasing efforts of standardisation in the 19th and 20th century, the localised forms present in different districts and also among the remaining source-cultures with the less-assimilated ethno-cultural groups have seen greater alienation. However, Assamese culture in its hybrid form and nature is one of the richest and is still under development.

Composition and characteristics

Assamese culture in its true sense today is a 'cultural system' composed of different sub-systems. It is more interesting to note that even many of the source-cultures of Assamese culture are still surviving either as sub-systems or as sister entities. In broader sense, therefore, the Assamese cultural system incorporates its source-cultures such as Bodo (Boro) or Khasi or Mishing (Micing) but individual development of these sub-systems are today becoming important. However, it is also important to keep the broader system closer to its roots.

Some of the common cultural traits available across these systems are:

  • Respect towards areca-nut and betel leaves
  • Respect towards particular symbolic cloth types such as Gamosa, Arnai, etc
  • Respect towards traditional silk and cotton garments
  • Respect towards forefathers and elderly
  • Great hospitality
  • Bamboo culture



Symbolism is an important part of Assamese culture. 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.

Tamulpan (the areca nut and betel leaves) or guapan (gua from kwa) 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 Austro-Asiatic culture.

Xorai being 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 offers.It simplistic term,it is an offering tray with a stand at the bottom.There are xorais with or without a cover on the top. Traditionally xorais were made of bell metal although nowadays they can be made from brass and/or silver.Hajo and Sarthebari are the most important centres 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. As an offering tray for food and other items placed in front of the altar(naamghar)for blessing by the Lord. As a decorative symbol in traditional functions such as during Bihu dances. As a gift to a person of honour 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); 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.

The word gamosa is derived from the Kamrupi word gaamasa (gaama+chadar), the cloth used to cover the Bhagavad Purana at the altar.

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 sub-systems and ethno-cultural groups as well.

There were various other symbolic elements and designs traditionally in used, which are now only found in literature, art, sculpture, architecture, etc or used for only religious purposes (in particular occasions only). The typical designs of assamese-lion, dragon, flying-lion, etc were used for symbolising various purposes and occasions.


There are several important traditional festivals in Assam. Bihu is the most important and common and celebrated all over Assam. However, there are other important traditional festivals being celebrated every year for different occasions at different places. Many of these are celebrated by different ethno-cultural groups (sub and sister cultures). Few of these are:

  • Me-dam-me-phi
  • Ali-aye-ligang
  • Kherai
  • Garja
  • Hapsa Hatarnai
  • Awnkham Gwrlwi Janai
  • Chojun/Swarak
  • Rongker
  • Sokk-erroi
  • Hacha-kekan
  • Porag


Bihu is a series of three prominent festivals of Assam. Primarily a festival celebrated to mark the seasons and the significant points of a cultivator's life over a yearly cycle, in recent times the form and nature of celebration has changed with the growth of urban centers. A non-religious festival, all communities---religious or ethnic---take part in it. Three Bihus are celebrated: rongali, celebrated with the coming of spring and the beginning of the sowing season; kongali, the barren bihu when the fields are lush but the barns are empty; and the bhogali, the thanksgiving when the crops have been harvested and the barns are full. Rongali, kongali & bhogali bihu are also known as 'bohag bihu', 'kati bihu' & 'magh bihu' respectively. The day before the each bihu is known as 'uruka'. There are unique features of each bihu. The first day of 'rongali bihu' is called 'Goru bihu' (the bihu of the cows). On this day the cows are taken to the nearby rivers or ponds to be bathed with special care. Traditionally, cows are respected as sacred animals by the people of Assam. Bihu songs and Bihu dance are associated to rongali bihu.


An Assamese women in Pat Silk performing Sattriya dance.

Assam, being the home to many ethnic groups and different cultures, is very rich in folk music. The indigenous folk music has in turn influenced the growth of a modern idiom, that finds expression in the music of such artists like Bhupen Hazarika, Nirmalendu Choudhury & Utpalendu Choudhury,Pratima Barua Pandey, Luit Konwar Rudra Baruah, Parvati Prasad Baruva, Jayanta Hazarika, Khagen Mahanta among many others. Among the new generation, Zubeen Garg, Debojit Saha and Jitul Sonowal have a great fan following.

Traditional crafts

Assam has maintained a rich tradition of various traditional crafts for more than two thousand years. Presently, Cane and bamboo craft, bell metal and brass craft, silk and cotton weaving, toy and mask making, pottery and terracotta work, wood craft, jewellery making, musical instruments making, etc are remained as major traditions. Historically, Assam also excelled in making boats, traditional guns and gunpowder, colours and paints, articles of lac, traditional building materials, utilities from iron, etc.

Cane and bamboo craft provide the most commonly used utilities in daily life, ranging from household utilities, weaving accessories, fishing accessories, furniture, musical instruments to building construction materials. Traditional utilities and symbolic articles made from bell metal and brass are found in every Assamese household. The Xorai and bota have been in use for centuries to offer gifts to respected persons and are two prominent symbolic elements. Hajo and Sarthebari / Xorthebaary are the most important centres of traditional bell-metal and brass crafts. Assam is the home of several types of silks, the most prominent and prestigious being Muga, the natural golden silk is exclusive only to Assam. Apart from Muga, there are other two varieties called Pat, a creamy-bright-silver coloured silk and Eri, a variety used for manufacturing warm clothes for winter. Apart from Sualkuchi / Xualkuchi, the centre for the traditional silk industry, in almost every parts of the Brahmaputra Valley, rural households produce silk and silk garments with excellent embroidery designs. Moreover, various ethno-cultural groups in Assam make different types of cotton garments with unique embroidery designs and wonderful colour combinations.

Moreover, Assam possesses unique crafts of toy and mask making mostly concentrated in the Vaishnav Monasteries, pottery and terracotta work in lower Assam districts and wood craft, iron craft, jewellery, etc in many places across the region.

List of Assamese traditional jewellery

  • Dugdugi
  • Kerumoni
  • Thuriya
  • Gaam Kharu
  • Muthi Kharu
  • Jonbiri
  • Dholbiri


Painting is an ancient tradition of Assam. The ancient practices can be known from the accounts of the Chinese traveller Xuanzang (7th century CE). The account mentions that Bhaskaravarma, the king of Kamarupa has gifted several items to Harshavardhana, the king of Magadha including paintings and painted objects, some of which were on Assamese silk. Many of the manuscripts available from the Middle Ages bear excellent examples of traditional paintings. The most famous of such medieval works are available in the Hastividyarnava (A Treatise on Elephants), the Chitra Bhagawata and in the Gita Govinda. The medieval painters used locally manufactured painting materials such as the colours of hangool and haital. The medieval Assamese literature also refers to chitrakars and patuas. Traditional Assamese paintings have been influenced by the motifs and designs in the medieval works such as the Chitra Bhagawata.

There are several renowned contemporary painters in Assam. The Guwahati Art College in Guwahati is the only government institution for tertiary education. Moreover, there are several art-societies and non-government initiatives across the state and the Guwahati Artists Guild is a front-runner organisation based in Guwahati.


See also

  • Fish in Assamese Culture
  • Tamol in Assamese Culture

Got something to say? Make a comment.
Your name
Your email address