The Kamrupi people constitute an ethno-linguistic group primarily residing in the Kamrup region of India, where they speak the Kamrupi language, a distinct Indo-Aryan language. Their cultural heritage is deeply rooted in the traditions of Vedic culture, which continues to influence their daily practices, rituals, and social customs.
Culture
Historical Development - Kamrupi Culture under the Varman Dynasty
The Kamrupi culture, centered in the ancient kingdom of Kamrup, experienced a significant flourishing during the rule of the Varman dynasty (c. 350–650 CE), one of the earliest and most influential dynasties in the region's history. Established by Pushya Varman (reigned c. 350–374 CE), the Varman dynasty laid the groundwork for a politically robust and culturally vibrant kingdom that played a pivotal role in the historical and cultural landscape of ancient eastern India. The dynasty's patronage fostered advancements in art, architecture, literature, and governance, positioning Kamrup as a prominent center of civilization in the Indian subcontinent.
Historical Context and Foundation
The Varman dynasty emerged in the mid-4th century CE, with Pushya Varman as its founder. His reign marked the beginning of a structured monarchical system in Kamrup, consolidating regional power and establishing a foundation for cultural and political development. The Varmans claimed descent from the Naraka, a ruler of Pragjyotisha (the ancient name for Kamrup), which lent divine legitimacy to their rule and strengthened their authority.
Cultural and Political Zenith under Bhaskar Varman
The pinnacle of Kamrupi culture and political influence was achieved during the reign of Bhaskar Varman (c. 600–650 CE), one of the most celebrated rulers of the dynasty. Bhaskar Varman's reign is regarded as a golden era for Kamrup, characterized by significant advancements in governance, diplomacy, and cultural patronage. His court was a hub of intellectual and artistic activity, attracting scholars, poets, and artisans who contributed to the kingdom's cultural legacy.
Bhaskar Varman is particularly renowned for his diplomatic acumen. He maintained cordial relations with the Gupta Empire, one of the most powerful polities in ancient India, which facilitated cultural and economic exchanges. His diplomatic engagements extended beyond the Indian subcontinent, as evidenced by his interactions with the Chinese Buddhist pilgrim and scholar Hieun Tsang, who visited Kamrup during the 7th century CE. Hieun Tsang's detailed accounts, recorded in his travelogue Da Tang Xiyu Ji (Great Tang Records on the Western Regions), provide valuable insights into the prosperity, administrative sophistication, and cultural richness of Kamrup under Bhaskar Varman's rule. Hieun Tsang described the kingdom as a thriving center of trade, education, and learning, with well-organized governance and a flourishing agrarian economy.
Cultural Contributions
Under the Varman dynasty, Kamrup emerged as a significant center of learning and artistic expression. The patronage of Sanskrit literature and the promotion of Vedic and traditions were hallmarks of the dynasty's cultural policy. Educational institutions, likely including early forms of monastic universities, thrived, fostering the study of philosophy, astronomy, and literature. The Varmans also supported the construction of temples and other architectural works, many of which incorporated intricate carvings and designs that reflected the syncretic blend of local and pan-Indian artistic traditions.
The dynasty's patronage extended to the performing arts, with evidence suggesting the encouragement of music, dance, and drama. Kamrup's strategic location along ancient trade routes facilitated cultural exchanges with neighboring regions, including Bengal, Odisha, and the Gangetic plains, enriching its artistic and intellectual traditions. The influence of Kamrupi culture is also evident in the development of early Assamese script and language, which began to take shape during this period, laying the foundation for the region's linguistic identity.
The Varman dynasty's contributions to Kamrupi culture had a lasting impact on the region's historical trajectory. By establishing Kamrup as a center of learning, art, and governance, the Varmans not only elevated the kingdom's status in ancient India but also set a precedent for subsequent dynasties, such as the Palas of Kamrup, to build upon. The cultural and political frameworks established during their rule continued to influence the region's development well into the medieval period.
Bhaskar Varman's diplomatic relations with external powers, particularly the Gupta Empire and Chinese scholars like Hieun Tsang, underscore Kamrup's role as a bridge between South Asia and East Asia. The dynasty's legacy is preserved in historical records, archaeological findings, and the enduring cultural traditions of Assam, which continue to reflect the syncretic and vibrant heritage of the Kamrupi civilization.
Kamrupi culture is distinguished by its contributions across various domains, including science, literature, and the arts. Scholars recognize the Kamrupi people for their advancements in astronomy, which was a prominent field of study in the region. The development of astronomical knowledge likely supported agricultural practices and religious observances, reflecting the integration of science with Vedic traditions.
In literature, the Kamrupi language fostered a rich tradition of poetic expression. One of the most notable figures in Kamrupi literary history is Daka, a celebrated poet believed to have lived during the ancient period.1 His works, though specific details are scarce, are considered emblematic of the sophisticated literary culture that thrived in Kamrup. The Kamrupi, with its unique phonetic and grammatical features, served as a medium for preserving and transmitting cultural narratives, religious texts, and philosophical ideas.
Social and Religious Practices
The adherence to Vedic culture is a defining characteristic of Kamrupi society. This is evident in their rituals, festivals, and social organization, which draw heavily from Vedic texts and traditions. The Kamrupi people maintain a strong connection to their spiritual heritage, with practices centered around temples, seasonal festivals, and community gatherings that reinforce their cultural identity.
Festival
Kamrupi people follow religious and community specific festivals around the year. Manasha Puja, Basanti Puja,2 Durga Puja, Kali Puja and other Pujas; Diwali, Holi, Janmastami, Shivratri etc. are major religious festivals of the Kamrup region. The common popular term to designate the three festivals corresponding to Bihu of Eastern Assam, in Western Assam, except in West Goalpara, is "Domahi", e.g., "Baihagar Domahi", "Maghar Domahi" and "Katir Domahi".3 4 There is hardly any dance and music of the Bihu type so common in Eastern Assam, but a special springtime festival of this region is a fair usually held in the first week of Baihag or third week of April. It is known as "Bhatheli" in northern Kamrup, "Sori" or "Suanri" in southern Kamrup.2 In certain areas the breakers of the "bhatheli-ghar" come from another village, resulting in a sort of mock fight between them and the local youth. In the southern part of Kamrup, where the festival is known as Sori, planting of tall bamboos is not seen, but bamboo posts,with the tuft at the top. People bow before the bamboos in northern Kamrup and they also touch them with reverence, but it does not look like any sort of bamboo worship.5
Religion
Hinduism is the predominant religion in the Kamrup. It serves as a cornerstone of the region's cultural and spiritual identity, influencing various aspects of daily life, including traditional attire, cuisine, and lifestyle practices. Within the Kamrup region, Hinduism manifests primarily through two major sects: Vaishnavism, which emphasizes devotion to Lord Vishnu and his incarnations, and Shaktism, which centers on the worship of the divine feminine, particularly Goddess Durga, Kamakhya, and other manifestations of Shakti.
The Hindu way of life is deeply integrated into the region's cultural fabric, shaping social customs, festivals, and rituals. Traditional clothing, such as the mekhela chador worn by women and dhoti-kurta by men, reflects both religious symbolism and regional aesthetics. Culinary practices are also influenced by Hindu traditions, with an emphasis on vegetarian and satvik (pure) foods in many households, particularly among Vaishnavites, while Shakta communities may incorporate ritual offerings and specific dietary customs during festivals. Festivals like Durga Puja, Janmashtami, and the Ambubachi Mela at the Kamakhya Temple are celebrated with great fervor, reinforcing the region's religious and cultural heritage.
The Kamakhya Temple, a major Shakta pilgrimage site dedicated to Goddess Kamakhya, is a focal point of religious life in Kamrup, drawing devotees from across India and beyond. Similarly, Vaishnavite institutions play a significant role in promoting spiritual teachings and cultural arts, including music, dance, and theater forms like Bhaona. These religious practices and institutions underscore the integral role of Hinduism in defining the cultural identity of the people of Kamrup, fostering a sense of community and continuity with ancient traditions.
Language
According to 2011 census of India, 60,000,00 people of Kamrup region identified themselves as speakers of Assamese language. In first half of seventh century Chinese pilgrimage Yuan Chwang visited the region and wrote about language, which convinced Upendranath Goswami and others that "Assamese entered into Kamarupa or western Assam where this speech was first characterised as Assamese. This is evident from the remarks of Hiuen Tsang who visited the Kingdom of Kamarupa in the first half of the seventh century A.D., during the reign of Bhaskaravarman." Kamrupi language is also acts as lingua franca among other groups of the region.
Folk Culture
Kamrupi Lokgeet
Kamrupi Lokgeet refers to the traditional folk songs of the Kamrup region, a culturally significant area in India. These songs are an integral part of the region's oral tradition, reflecting the social, cultural, and historical ethos of the Kamrupi people. Kamrupi Lokgeet encompasses a variety of themes, including love, nature, spirituality, and daily life, often performed during festivals, rituals, and social gatherings. The melodies are characterized by their simplicity, rhythmic patterns, and use of indigenous instruments such as the pepa (buffalo hornpipe), toka (bamboo clapper), and gogona (jaw harp). These folk songs have been passed down through generations, preserving the linguistic and cultural heritage of the Kamrup region. They often incorporate elements of Assamese language and dialects specific to Kamrup, contributing to their distinct identity within the broader spectrum of Assamese folk music.
Kamrupi Dance Forms
The dance forms of the Kamrup region, collectively referred to as Kamrupi dance, have evolved significantly from the traditional theatrical performance known as Bhaona. Bhaona, a form of devotional drama introduced by the 16th-century Vaishnavite saint and reformer Srimanta Sankardeva, serves as the foundation for these dance traditions. Performed primarily to narrate stories from Hindu epics like the Ramayana and Mahabharata, Bhaona integrates music, dance, and dialogue, creating a vibrant platform for artistic expression. Over time, the dance elements of Bhaona developed into distinct Kamrupi dance forms, each with unique characteristics and cultural significance.8
Notable Kamrupi Dance Forms
Falguni: The Falguni dance is a vibrant and expressive form that draws inspiration from the Bhaona tradition. It is typically performed during religious festivals, particularly those associated with the Vaishnavite tradition, and emphasizes graceful movements and narrative storytelling. The dance often depicts episodes from the life of Lord Krishna, accompanied by traditional instruments and rhythmic footwork.
Geeta: The Geeta dance form is closely tied to the recitation and enactment of verses from sacred texts, such as the Bhagavad Gita. Performers use stylized gestures and synchronized movements to convey philosophical and spiritual themes, blending devotion with artistic expression. This form is noted for its lyrical quality and intricate choreography, often performed in group settings during religious gatherings.
Karna-Arjuna: Named after the iconic characters from the Mahabharata, the Karna-Arjuna dance dramatizes the epic rivalry between these two warriors. This form emphasizes dynamic movements and theatrical expressions to portray the intensity of their conflict. It is often performed as part of Bhaona presentations, showcasing the martial and emotional elements of the narrative through choreographed sequences.
Ojhapali: Ojhapali is a prominent folk dance and musical tradition of the Kamrup region, combining elements of dance, music, and storytelling. It is performed by a group led by an Oja (lead performer), who narrates mythological or historical stories through song, while the Palis (supporting performers) accompany with dance and rhythmic movements. Ojhapali performances are often categorized into two types: Biyahar Ojhapali, which focuses on secular themes, and Suknanir Ojhapali, which emphasizes devotional narratives. The dance is characterized by its energetic movements, intricate footwork, and the use of instruments like the khol (drum) and manjira (cymbals).
Cultural Significance
Kamrupi Lokgeet and dance forms are vital components of region's cultural heritage, embodying the artistic and spiritual legacy. These traditions not only serve as entertainment but also as a medium for preserving historical narratives, religious teachings, and communal values. The influence of Bhaona underscores the deep connection between Kamrupi dance and Vaishnavite philosophy, while the diversity of dance forms reflects the region's rich cultural tapestry. Kamrupi Lokgeet and dance continue to thrive in rural and urban settings, performed during festivals, religious ceremonies, and cultural events, ensuring their relevance in contemporary Kamrupi society.
Cuisine
Kamrupi cuisine, originating from the Kamrup region, exhibits a degree of culinary homogeneity with the cuisines of neighboring eastern Indian states, such as West Bengal, Odisha, and Bihar, due to shared cultural and geographical influences. This regional cuisine is characterized by its robust and distinctive flavors, with a pronounced emphasis on the use of mustard seeds, which are generously incorporated into dishes to impart a pungent and earthy taste. Other key ingredients that define Kamrupi cooking include ginger, garlic, black pepper, and onions, which are extensively utilized to create complex flavor profiles in both vegetarian and non-vegetarian preparations. These ingredients are often combined in spice blends or used as foundational elements in curries, stir-fries, and lentil-based dishes, reflecting the region’s preference for bold and aromatic culinary traditions.
The preparation of Kamrupi food adheres to traditional methods, with an emphasis on locally sourced ingredients and time-honored cooking techniques. In rural households, meals are typically prepared using utensils made of bell metal (a traditional alloy of copper and tin), which is valued for its durability and believed to enhance the flavor of certain dishes. These bell metal utensils, such as kadhais (woks), handis (pots), and serving plates, are integral to the region’s culinary heritage and are still used in many traditional households, particularly during festivals and special occasions. However, in modern times, stainless steel utensils have become increasingly common due to their affordability, ease of maintenance, and widespread availability, especially in urban settings. Despite this shift, the use of bell metal remains a hallmark of authenticity in Kamrupi culinary practices, symbolizing the region’s rich cultural legacy.
Kamrupi cuisine also reflects the region’s agrarian roots, with rice serving as a staple food, often accompanied by an array of lentils, vegetables, and fish, which are abundant in Assam’s riverine ecosystem. The cuisine is further distinguished by its use of indigenous herbs and greens, such as moringa leaves, fiddlehead ferns, which contribute to its unique flavor palette. The preparation of dishes often involves minimal to generous oil, with steaming, boiling, and roasting being common cooking techniques, aligning with the region’s focus on wholesome and nutritious meals. This culinary tradition, while sharing similarities with neighboring states, retains a distinct identity shaped by region’s diverse topography and cultural influences.
Sources
- Barua, Prafulla Chandra (1967), Fragments of a lost picture, Self published, p.viii
- Goswami, Upendranath (1970), A Study on Kāmrūpī: A Dialect of Assamese, Department of Historical Antiquarian Studies, Assam, p.13,14 Moreover the factors for the integration of different dialects namely war, annual fair, great religious festivals etc., where people of different and adjacent places can mix together and get the chief roughness of different dialects smoothed down, were found lacking between eastern and western Assam. The important festival in eastern Assam called the Bihu festival is not observed in the same manner in western Assam. The Kamrupi word for the festival at the same period is 'dahmi'. The custom of intermarriage between eastern Assam and Kamrup was also not in vogue. Even now-a-days the number of such marriages is not great. In other cultural items also Kamrup and eastern Assam differ considerably. In Kamrup we find 'bhathli', a kind of bamboo worship held in the middle of April. Another interesting custom in Kamrup is the custom of driving mosquitoes in winter in the form of group singing which is known as 'mahoho'. The choral songs, known as 'ojapali, connected with the story of the goddess Manasa, is also confined in western Assam. Manasa even to-day "is a living and powerful cult in Assam and she is worshipped with much adoration and ceremony, particularly in the districts of Kamrup, Goalpara and Darrang". In eastern Assam no parallel is found to these festivals and worship. Thus politically, socially and culturally Kamrup formed a separate unit and its speech also was compelled to take a shape to form a distinct dialect. It is only by chance that this dialect had to lose its prestige and had to remain as a dialect.
- Goswami, Praphulla Dutta (1966), The Springtime Bihu of Assam: A Socio-cultural Study, Lawyer's Bookstall, Gauhati, p. 25
- Bīrendranātha Datta, Nabīnacandra Śarmā, Prabin Chandra Das (1994), A Handbook of Folklore Material of North-East India, Anundoram Borooah Institute of Language, Art & Culture, Assam, p. 158
- Goswami, Praphulla Dutta (1966), The Springtime Bihu of Assam: A Socio-cultural Study, Lawyer's Bookstall, Gauhati, p. 8 In Assamese the term domahi is more popular than the learned samkranti . Domahi means the junction of two months . Further , in lower Assam , this term tends to replace the use of the name Bihu : the Domahi of Bohag , of Kati , or of Magh .
- Sarma, Nabinacandra (1988), Essays on the Folklore of North-eastern India, Bani Prokash, p.64
- Baruah, P. N. Dutta (2007). A contrastive analysis of the morphological aspects of Assamese and Oriya. Central Institute of Indian Languages. p. 10.
- Banerji, Projesh (1959), The folk-dance of India, Kitabistan, p.72 A new form of dance technique has been evolved from Bhaona which is a sophisticated type of dancing, known as "Kamrupi" dance. Probably this nomenclature was attributed to give a provincial touch to the technique, because it had its birth from Assam. There is a district even now in the State by that name. The famous ""Kamrupi" dances are "Phalguni", "Gita", "Karnarjuna",etc.
