Buddhist Cultural Tourism in Assam : My presentation

 BUDDHIST CULTURAL TOURISM IN ASSAM

Keywords              Buddhist Cultural Tourism, Assam heritage, Mahayana Vajrayana traditions,                                                 Caryāpada, Kamakhya Temple, Buddhist festivals, Monasteries in Assam

Abstract

Assam, a cultural bridge between Indic and trans-Himalayan worlds, holds a vital yet overlooked place in South Asia’s Buddhist heritage. This study examines Assam’s sacred sites, living Mahāyāna and Vajrayāna traditions, and their expression through rituals, music, and architecture. Guided by the ICOMOS Cultural Tourism Charter (1999), it advocates tourism that respects cultural integrity and empowers communities. Documenting Caryāpada, Ojapāli, and key Buddhist festivals, the research promotes inclusive interpretation and sustainable tourism. The goal is to safeguard Assam’s Buddhist legacy while contributing to global heritage discourse through community-based conservation and meaningful cultural engagement.

Tourism encompasses the activities of people traveling to and staying in places outside their usual environment for leisure, business, or other purposes, (enjoyment of performing arts, participation in festivals and other cultural events, acquisition of knowledge of folklore or arts) for a period not exceeding one year. Since ancient times, there existed a pilgrimage route from Kashmir to Pragjyotish (Present Guwahati) along the foothills of the Himalayas.¹ This route also connected Kashmir with Garhwal, Kumaon, Nepal, Tibet, and Bhutan, Anga, Banga, Kalinga, Magadha & others. There was probably a unique cultural entity in the entire region and Sage Bharat refers to it as the Odramagadhi instinct in the Natyasastra.²

 

Objective and aim of this study

This study delves into the overlooked realm of Buddhist cultural tourism in Assam, illuminating its sacred geography, historical sites, and living traditions. It explores the deep interweaving of Mahayana and Vajrayana Buddhism with Assamese culture through rituals, festivals, and artistic expressions such as Caryāpada, Ojapali, and Kamrupia Dholia. The research brings to light the current state of Buddhist monasteries and practices, emphasizing the urgent need for conservation, documentation, and integration into sustainable tourism. By doing so, it aspires to foster scholarly engagement and promote Assam's rich Buddhist heritage within both regional and global cultural narratives.

 

 

Methodology

The methodology adopted in this study is interdisciplinary, combining historical, ethnographic, musicological, and visual research approaches. It begins with a detailed literary and historical analysis, drawing from ancient sources such as the Natyashastra, Rajatarangini, Samveda, Caryāpada, and Harshacharita, alongside a comparative study of Sanskrit, Assamese, and Buddhist texts. Field surveys were conducted with the help of local informants to identify significant sites, record oral histories, and gather cultural insights from practitioners. A musicological lens was applied to compare Buddhist Caryāgīt with Assamese forms like Bargit and Deh-Bichar Geet,³ while also examining ritualistic performances and esoteric dance traditions. Visual anthropology supported this with photographic documentation and cataloguing of monastic architecture, artifacts, and associated practices. The research integrates inputs from architecture, history, religious studies, and performance arts, drawing on multilingual academic sources to present a holistic understanding of Assam’s Buddhist cultural landscape. Caryāgīt

 

Ancient Buddhist places

Six of the most commonly mentioned ancient sites are –

 

 (i)   Hayagriva Madhava Temple in Hajo, 

(ii)   Kamakhya temple in Guwahati, 

(iii)  Sri Surya Pahar, Goalpara, 

(iv)  Mystical Mayang 

(v)   Drum Circus in Nalbari 

(vi)  Vyahpara village of Sipajhar &
(vii) Buddhist Literature in Assam - Caryāgīt

(i)                 Hayagriva Temple

It is believed among Bhutanese, Nepali & Tibetan Buddhists that Guru Padmasambhava (Rimpoche) attained Mahanirvana in Hajo and his physical body is under the foundation of the Hayagriva Temple

 

Hayagriva Madhava Temple, Hajo 

(Photo Courtesy: Prof. (Dr.) Hari Prasad Agarwal)

(i)   Hayagriva Madhava Temple, Hajo 
It is believed among Bhutanese, Nepali & Tibetan Buddhists that Guru Padmasambhava (Rimpoche) attained Mahanirvana in Hajo⁴ and his physical body is under the foundation of the Hayagriva Temple. It is considered as part of the sacred geography of Hajo for the Buddhists, located 23 km North-West of Guwahati.

Kamrup Kamakhya Temple, Guwahati
(Source Link: https://www.istockphoto.com/photo/sacred-hindu-shrine-in-assam-india-kamakhya-temple-sacred-place-of-worship-in-india-gm1502223564-522637489?searchscope=image%2Cfilm)

 

(ii)   Kamakhya Temple, Guwahati
It is said that originally Kamakhya Temple was a Buddhist Temple. Later on it was worshipped as a temple of Lord Visnu and finally of the Goddess Kamakhya.
 
It is also said that Vajrayani Buddhist Guru Padmasambhava went to Kashmir through the foothills of the Himalayas with the Goddess Tārā, (one of Goddess of Dasamahavidya of Kamakhya) with Bell & Vajra instruments. He returned from Kashmir to Bhutan and finally attained Mahanirvana in his native place Hajo. There is a legend that that is why, there is no Yoni Peeth in the Goddess Tārā Temple on the Nilasal Hill.
 

Votive stupas of Sri Surya Pahar

(Source Link: https://enrouteindianhistory.com/harmony-in-stone-exploring-the-spiritual-tapestry-of-sri-surya-pahar-mandir/)

(iii) Sri Surya Pahar:

Sri Surya Pahar, dated by ASI to as early as the 3rd century CE, is a rare site of Hindu, Buddhist, and Jain coexistence. Cited in the 7th-century Kalika Purana as Ravikṣetra, it reflects Assam’s ancient sun worship and sacred Tantric geography within early medieval Kamarupa.⁵

 

Other than the rock carving of Lord Buddha, there are more than 25 granite stupas of different shapes and sizes in the Sri Surya Pahar, Goalpara. The distance between this hill and Guwahati is 132 Km.

Some Rock statue of Mayang

(Photo courtesy Dr Utpal Nath &  Mr Angshuman Borah, Mayang)

(iv)  Mystical Mayang 

In ancient times, Yoga was known among the Nath community as well as the Brahmin in Kamrup. These Naths lived in the middle of the Brahmaputra valley and were probably Buddhist. Their main place of residence was Mayang secluded village on the bank of the river Brahmaputra in Assam. It is referred to as the “Land of the Occult.”There are ten caves and an inscription in Tibetan script on the hill exits in this region.

Kamrupia Dholia comedy: Roumaari Dhuliya Dol

(v)  Drum Circus in Nalbari

There are drumming practices in the Kaihati, Roumari and Kaithalkuchi villages under Nalbari District. It is called the Kamrupia Dholia. It is a kind of Circus or Drama mixed with Sutradhari dance, Puppet dance, various somersaults, funny acts, jokers, use of masks & others. It is said that this style of drama is very ancient and it evolved into the dance & songs now prevalent in the Vajrayani and Mahayani Buddhist monasteries. It is noteworthy that the Sutradhar dress is still used by Vaishnavas, Vyas Maestro and Buddhist Lamas in Assam.

 

 

Rāṃgelīkhāţi & Mudurā used by Vyas Maestro at Jagar-gīt performance

(Photo by author)

 (vi)   Vyahpara village of Sipajhar 

The ballad or Gatha music, which dates back to the fourth century, is accompanied by costumes such as Vajra and Buddhist maestro. It is noteworthy that the Jagar song of Vyas Ojapali mentions Goddess like Rashseni, Tara, Vajraseni & others⁶. 

 

The Ojapali is performed during the autumn Durga Puja in Darang Royal Palace, Mohanpur, Mongaldoi; and Uparhali Durga Temple, Vijoynagar. On 1^st āşārḥ, the sacred ceremonies are performed in Ardhanarishwar Temple in Patidarang, Mongaldoi. On Last day of Kārttik & first day of Agrahāyan it would be at Rudreswar Temple, Mahripara, Mongaldoi and on 2nd October, Ojapali is performed at Parijati Temple, Vyaspara, Sipajhar.

Caryā (Gīt) Dance performance

(Photo courtesy Mr Dilip Nath, Sipajhar)

 

 

(vii)  Buddhist Literature in Assam - Caryāgīt

Kamakhya Temple has a long association with Mahayana Buddhism. Buddhist lamas from Nepal, Bhutan and Tibet often visit Kamakhya Temple in Kamrup. Locals believe that the Caryāgīt they sing were composed in Kamrup Kamakhya. On closer observation, it can be seen that the ragas and melodies of Deh-Bichar Gīt and some of the Bargiīt of Assam are similar to those of the Caryāgīt. Scholars believe that the writers of the Caryāgīt as, such as Luipad, Sarahpad, Minnath, Nāgārrjjun, Ḍheņḑhaņāpād, Goraļapād, Dāḑrikapād, Kāhņupād, Bhusukupād, Shantipad, Dombipad, Dhendhanpad, Śavarapād and Mahidharpad, had special connections with Kamrupa⁷.

 

3.0 BUDDHIST Festival in Assam
A.         Theravada Festivals:
 
(i)        Buddha Poornima
The Budda Purnima or the Sangken festival is celebrated in Upper Assam, as the traditional New Year's Day by the Theravada Buddhist communities, Tai Phake, Tai Aiton, and Tai Turung communities. It is celebrated in the last days of the year and as the festival ends the New Year begins on the next day.
 
 
 
(ii)      Poichang-ken Festival
Celebrated during the Bahāg, the main attraction of the festival is splashing clean water, which is the symbol of peace and purity. The celebration takes place for three consecutive days. The idol of Buddha is taken out and after the ceremonial bath. The holy bath of Buddha is an auspicious event in the festival. The procession is accompanied by drums, dances and enjoyment. During the celebration the locals make homemade sweets and distribute them. The exchange of gifts is also a common trait of the festival.
 
(iii)    Kathin Chibar festival 
Celebrated during Last day of Ãśbin and first day of Kārttik, Kathin Chibor (or Chibar means cloth) Dan (means donation) is a ritual of offering clothes to Buddhist monks for the winter. In Assam, the villagers, especially the women folk follow the Panch-sheel (five principles of peaceful co-existence) weave clothes for the monks through the night and offer to them in the morning. Prior to that, the women take part in a rally, carrying Kalpataru, an artificial tree with money hanging from it. The procession stops in front of household of the village to offer blessings to the owner.
 
(iv)   Maiko-Chung-fai festival 
During the Assamese month of Māgh (around mid February) on the full moon day, the sacred Maiko-chung-fai festival is celebrated for two days. This is one of the traditional Buddhist festivals with colorful programs. The festival is meant for making offerings to the fire. For the purpose, a 15-foot to 20-foot tall meji⁸ and is erected with firewood and bamboo, which is decorated with the traditional art and culture of wood, bamboo, flowers & others. 
 
The program of the festival includes hoisting of the World Buddhist Flag, Triple Gem Prayer, community feast, administration of Silas, cultural function, religious discourse, setting fire to the meji, among others.
 
 
B.         Mahayani Festival
 
(i)        Saga Dawa Düchen Festival 
It is the festival of Vaishakha month, which is fourth month, 15th day of this lunar month, the full moon day is called Saga Dawa Düchen. This day is the most important holy day of the year for Tibetan Buddhists. It is known as Buddha Purnima, Vesak, or Buddha Day. The goal of the festival season is to pray for the long life of all the holy Gurus of all traditions, for the survival and spreading of Buddha’s teachings in the minds of all sentient beings, and for world peace. Buddhists devotees go to monasteries and temples to pray during the Saga Dawa Festival. 
 
(ii)      Chotrul Duchen Festival 
It is the festival of miracles. Also known as Chonga Choepa or the Butter Lamp Festival, it takes place on the fifteenth day of the first month in the Tibetan calendar during the full moon (Bumgyur Dawa). The first fifteen days of the year celebrate the fifteen days during which the Buddha displayed miracles for his disciples to increase their devotion.
 
To commemorate the occasion, Tibetans make lamps, traditionally of Yak / Methoon butter, called butter lamps, in the shapes of flowers, trees, birds, and other auspicious symbols. They also create elaborate displays for the lamps in their homes and in public spaces, sometimes erecting structures looking as large as a building. All the lanterns are lit in celebration on the 15th day of the month. 
 
 
(iii)    Chokhor Duchan Festival is the festival of turning the wheel of Dharma
Chokhor Duchen is celebrated in the first week of August. This is called the day of “The Turning of the Wheel of the Dharma”. This holiday is sometimes celebrated by making pilgrimages or making offerings to the Buddha. But, more than that, it’s a big opportunity to reflect on the path of Dharma and how it’s impacting our lives.
 
(iv)     Lha Bab Duchan Festival: is the festival of the Descent from Heaven
It is one of the four Buddhist Festivals commemorating four events in the life of the Buddha. It occurs on the 22nd day of the ninth lunar month. It is a Buddhist festival celebrated to observe the Buddha's descent from the Tra-vas-trimsa heaven down to earth.
 
 
CONCLUSION:
This study reveals that Assam’s Buddhist cultural heritage—rich in sacred geography, oral traditions, rituals, music, and performative arts—is a vibrant living tradition deeply rooted in the region’s socio-cultural fabric. In line with the ICOMOS Charter on Intangible Cultural Heritage (2003), heritage must not only be inherited but actively practiced, sustained, and transmitted. From Ojapali and Caryāpada to Theravāda and Vajrayāna festivals, Assam presents compelling examples of cultural continuity that require urgent documentation and safeguarding.
 
The findings resonate with the ICOMOS Cultural Tourism Charter (1999), which calls for tourism that promotes understanding, respects diversity, and empowers local communities. Assam’s sacred sites and traditions hold immense potential for culturally responsible tourism, driven by community participation and ethical interpretation—fostering both sustainability and cultural resilience.
 
Furthermore, the Charter on the Interpretation of Cultural Heritage (2008) underscores the need for inclusive, multilingual narratives. Assam’s Buddhist heritage must be interpreted through a framework that bridges local oral histories with broader Himalayan and trans-regional Buddhist traditions.
 
Thus, the study advocates a holistic, community-based conservation model—viewing Buddhist cultural tourism as a means of revitalization, identity affirmation, and global scholarly engagement within the evolving discourse on living heritage and sacred geography.

 

Reference:

[1]       Pad No – 295 to 305: Daranga Rajavamsaali; edited by Shastri, Dr Biswanarayan

2      Sage Bharat’s Natyasastra, Chapter No 6; Verse No 25-26

आवन्ती दाक्षिणात्या च तथा चैवोढ्रमागधी ॥ २५॥

पाञ्चालमध्यमा चेति विज्ञेयास्तु प्रवृत्तयः ।

 

Translation: The Āvantī (represent Aryavatta), the Dākṣiṇātyā, the Oḍhramāgadhī, and the Pāñcālamadhyamā— these are to be understood as the (four) principal regional styles (of dramatic expression or instincts of speech/recitation).

The Oḍhramāgadhī local usage: Eastern [countries such as] Aňga, Vaňga, Kaliňga, Vatsa, Oḑhra (Oḑra), Magadha, Puņḑra, Nepāla, Aṃtargira, Bahirgira, Plavaṃgama, Malada, Mallavartaka, Brahmottara, Bhārgava, Mārgava, Prājyotişa, Pulinda, Videha and Tāmralipta, adopt the Local Usage known as the Oḍhramāgadhī. In relation to other countries too known in the Purāņas is belonging to the East the Oḍhramāgadhī. Local Usage is applied. Verse No 43 – 46.. The Nāţyaśāstra ascribed to Bharata-Muni; translated into English by Ghosh, Manomohan; Asiatic Society of Bengol: Calcutta

³          Page No 69 – 98, Caryapada; Hazarika, Dr. Parikshit

4  Historically, Hajo is known as Manikut, Apurnaba, Bishnupuskar, and Sujabad. The name Sujabad or Sujanagar dates back to the Mughal rule. In addition, during the Ahom and Koch rule, the place was known as Koch Hajo.

5          Verses of Kalika Puran, Chapter no 78 describe about Sri Surya Pahar :

... ब्रह्मक्षेत्रस्य पश्चिमे।

रविक्षेत्रं यत्र देव आदित्यः सततं स्थितः॥ ४१॥

 

... तथैशान्यां विद्याद्य दलशक्तयः।

निर्मालधृक् तत्त्वचण्डो माथराद्यास्तु पार्श्वयोः॥ ५२॥

 

 

Translation: Brahmakṣetra likely refers to a sacred region in ancient Kāmarūpa, possibly associated with Guwahati. Ravikṣetra (lit. Field of the Sun) is understood to be the ancient name for Sri Surya Pahar, where Surya (Āditya) is venerated. The constant presence of Āditya signifies the centrality of sun worship at this site.

 

The second verse alludes to Tantric deities or śakti manifestations (like Vidyā and Tattvacaṇḍā) residing in eastern/northeastern directions, possibly symbolic of the multidimensional sacred geography of the region.

6      Vyah Maestro Sarma, Barun sing -

आसे रविवारे देवी दुर्गा-रूप धरि। सोमे कात्यायनी रूप सहिते नपारि॥ भौमे भैरवी रूप देवी महामाया। बुधे जया गुरु दिया चरणर छाया॥ गुरु वज्रयिनी रूप भवानी जननी। शुक्रे त्रिनयनी रूपे सहिते नपारि॥ आसे शनिवारे रूप धरि राक्ष्यसेनी। सात बारे सात रूप भवानी जननी॥ कहे द्विज रामानन्दे दुर्गार पदे सेबी। दुर्गार चरणे बिने आन नाइ गति॥ ११॥

Translation: -"On Sunday, the Goddess arrives assuming the form of Durgā. / But Monday, she appears as Kātyāyanī—though that form is rarely seen. / On Tuesday, she comes as Bhairavī, the great Māyā, the Supreme Goddess. / On Wednesday, she appears as Jayā, offering the shade of her feet to the Guru. / On Thursday, Bajrayinī (Tārā), she manifests as Bhavānī, the Divine Mother. / On Friday, she appears as Trinayanī (the Three-eyed one)—a form too powerful to behold. / On Saturday, she comes in the form of Rākhyasenī. / Thus, in seven days, she manifests in seven divine forms—Bhavānī, the Universal Mother. / Says the twice-born Rāmānanda: Serve at the feet of Durgā. / Without her lotus feet, there is no other path to liberation."** (Verse 11)

7      Page No – 11, Caryapada; Hazarika, Dr. Parikshit & Page No 137, The Hevajra Tantra: Snellgrove, D. L.

8      A bonfire, typically a tall structure made of bamboo, fire-wood and hay, that is ritually burned

 

Acknowledgment:

 

Books:

A. Sanskrit –

1.       Samveda Samhita

2.       Natyasatra – Bharat Muni

3.       Rajtarangini – Kohlan

4.       Kuttanimatam – Damodar Gupta

5.       Harsa-sarit – Banabhatta

 

B. English –

1.       Music of Eastern India – Ray, Sukumar

2.       A Catalogue of Sanskrit Manuscript at the DHAS – Choudhury, P C

 

C.  Assamese –

1.       Caryapada – Hazarika, Dr ParikShit

2.       Nirbasita Prabandha – Baruah, Birinchi Kumar

3.       Devi – Bordoloi, Dr Nirmal Prabha

4.       SriSri Sankardeva aru Srisri Madhavadevar Borgit – Choudhury, Garg Narayan

5.       Asomot Boudha Dharma aru Boudha Sanskriti – Datta, Soumyadeep

6.       Darrang Rajbongsawali – Sastri, Dr Biswanarayana

 

Oral History sources

1.       Er Thanag Shyam, Guwahati (Local social worker with Theravadi religious activities)

2.       Er. Manoj Kumar Das, Hajo (Local social worker with religious activities)

3.       Dr Utpal Nath, Mayang (Research worker of Magical world of Mayang)

4.       Dr Sanjib Kr Borkakoti, Nagaon (A leading researcher of Vaishnava literature)

5.       Dr Paramananda Rajbongshi, Sipajhar (Ex-President of Assam Sahitya Sabha)

6.       Mr Barun Sarma, Sipajhar (Vyah Maestro)

7.       Mr Abani Sarma, Sipajhar (Vyah Maestro)

8.       Mr Kuldeep Baruah, Duliajan (Local social worker with religious activities)

 

Photograph Source

1.       Google image links

2.       Prof. (Dr.) Hari Prasad Agarwal, Guwahati

3.       Dr Utpal Nath, Mayang

4.       Mr Angshuman Borah, Mayang

5.       Mr Dilip Nath, Sipajhar