Sankardev sat in the Than (religious shrine) of Dhuwahat when one of his disciples asked about the essence of Neo-Vaishnavism. The saint explained that the philosophy rested on two pillars — monotheism and devotion. While Hinduism spoke of many gods, he said, they were all manifestations of the one supreme being. Whether Brahma, the creator, Shiva, the destroyer, or other deities, all function under one divine source. Neo-Vaishnavism focuses on that supreme being, and the truest form of worship is heartfelt devotion — the sincere surrender to the divine.
Diplomatic devotion
Sankardev’s teachings challenged the authority of the Brahmins, who depended on elaborate rituals and idol worship for their livelihood. His call for monotheism and the simplicity of Naam (prayer) threatened their status. This tension became a recurring conflict.
Once, Sankardev cleverly turned their own logic against them. When he asked what was the best way to atone for a sin, the Brahmins answered, “Naam is the best atonement.” Yet they still clung to idol worship and rituals. Sankardev, ever pragmatic, sought harmony rather than confrontation. To bridge divides, he tactfully allowed the installation of a statue of Lord Krishna as Madana Gopala in Dhuwahat.
Though idol worship was against Neo-Vaishnavite principles, Sankardev relaxed this rule for social peace, proving that doctrines exist for people’s welfare, not the other way around. Over time, Brahmin scholars like Brahmananda, Ananta Kandali and Damodardeva embraced his faith.
Damodardeva later led the Brahma Sanghati, a branch alongside Naamdharma (the religion of prayer).
Strategy in literature and faith
Sankardev’s wisdom extended to his literary works. He observed the mindset of his followers closely, always preferring voluntary acceptance of faith.
To appeal to specific communities, he wrote with purpose. For instance, when he saw a devotee from the Daivagya (astrologer) community secretly practising astrology, he composed Anadi Patana. This poetic work explored creation, planets and the cosmos, blending themes from the Bhagavata Purana and Vamana Purana. It subtly drew the Daivagya community toward monotheism through their own interests — an example of Sankardev’s literary diplomacy.
Encounter with King Nara Narayana
Sankardev’s brilliance shone again during his trial before Koch King Nara Narayana, instigated by jealous Brahmins. Supported by General Chilarai, the saint appeared in court calm and fearless. As he entered, he spontaneously sang Madhu Danava Darana Deva Varam, one of Assam’s most revered hymns. The rhythm of his steps matched the song, mesmerising everyone.
The king, deeply moved, exclaimed, “This is a divine spirit beyond human ability.”
When Brahmins complained that Sankardev compared the king to a “half moon after an eclipse” instead of a full moon, Sankardev replied, “The half moon after an eclipse grows brighter, while the full moon begins to wane.” His wit and poetic grace won the king’s admiration.
He explained that his installation of Madana Gopala’s idol was not idolatry but a demonstration for social harmony. His creativity extended beyond theology — he composed Gunamala and wove the famed Vrindavani Vastra to honour and inspire devotion in King Narayana’s court.
The statesman-saint
When King Nara Narayana expressed a desire to become his disciple, Sankardev politely refused, explaining that the king’s followers — mostly devotees of Goddess Durga — might rebel. It was a diplomatic move, preserving harmony without compromising principle.
Sankardev was more than an Assamese saint; he was a Bharatiya reformer who envisioned a unified spiritual identity. In works like Anadi Patana, he expressed pride in his Indian heritage and used the Brajawali language to reach a broader audience.
A saint, poet, philosopher and reformer — Sankardev understood society’s pulse. His diplomacy and compassion helped shape a spiritually enlightened, harmonious Assam — a legacy that continues to inspire.
