The Satra is generally a four-sided enclosed area with four gateways (
karapat). Centrally placed in this enclosure is a rectangular prayer-hall (
Namghar or
kirtanghar) at the aligned in the east–west direction. On its eastern side there is an additional independent structure called the
Manikut (jewel-house), the
sanctum santorum, in which the
asana (a wooden tetradehral structure with four carved lions) is placed containing the main object of worship (usually a copy of the Bhagavat Purana in manuscript or an idol). The namghar is surrounded by four straight rows of huts, called
hati, in which monks (
bhakats) reside. The
adhikara and other high officers of the Satra reside in the eastern
hatis. All structures were originally temporary, made with wood, bamboo and covered over with thatch; brick and mortar found use after the 18th century.
Monks, called
bhakats, live in satras under a
satradhikar or
Mahanta. In some orders of the religion, the
bhakats are celibate (
kewalia bhakat). The satradhikar may not always be of high birth, it is recorded in many instance the satradikars belonging to tribal or lower caste origin. For example, Mathuradasa Ata, the first satradhikar of
Barpeta was from the
Candal community, Narayanadasa Ata, a disciple of Sankardev was from the weaver community (
Tanti) similarly Sesa, Katani, Budhbari, Chahila satras were held by
Kaibartas although they claim to be of
Kayastha origin. The satras are not merely religious institutions but play cultural and historical roles in society. A dance form that was initiated by
Srimanta Sankardeva and later developed within the sattras, and thus called
Sattriya, is one of the eight classical dance forms in
India.
Origin and evolution The name
satra originates in the
Bhagavata Purana in Sanskrit (
sattra), and is used in the sense of an assembly of devotees. During Sankardev's lifetime, the devotees assembled in the open, under trees. Though temporary prayer houses were built, the tradition of devotees living in the premises did not happen during Sankardev's lifetime. The first mention of the
hati is found in the context of the Patbausi Satra of Damodardev. Madhavdev built the
Barpeta Satra, and laid down the system of daily prayer service and initiated the system of religious
tithes.
Vamsigopaldev was instrumental in establishing Satras in eastern Assam. The last quarter of the 16th century saw the satras divide into four different sects (also called
samhati)—Brahmasamhati, Purusasamhati, Nikasamhati, Kalasamhati. These four sects were firmly established by the early 17th century. of the Auniati Satra, one of the principle Satra of the Brahma Samathi.|left
Damodaradeva (a Brahmin disciple of Sankardev) formed the
Brahmasamhati, which represented the Brahmanical practices and ritualism. It brought back the
caste system to its original form but still adhered to the teachings of namadharma of Sankardev. The followers of this sect called themselves
Damodariyas (meaning:
followers of Damodaradeva) and the
satradhikar was chosen from a Brahmin family. It had close relationship with the
Koches and the Koch king
Nara Narayan was initiated into the Vaishnava order by Damodaradeva. Auniati satra,
Dakhinpat Satra, Garamur satra and Kurawabahi satra became the most influential of the Brahmasamhati and received royal patronage from the
Ahom kings. Caturbhuja Thakur, one of the grandson of Sankardev headed the
Purusasamhati. This samhati practiced the original features of Sankardev teachings and therefore considered to be the main sect. The head priest was chosen either from a
Kayastha or Gossain family. The term
purusa is claimed to be derived from the honorific title Mahapurusa, usually applied to Sankardev. Bardowa satra founded by Sankardev remained the most popular satra of the Purusasamhati. The next samhati, the
Nikasamhati was established by Mathuradasa and
Padma Ata, both of whom were disciples of
Madhavdeva. It strictly conformed to the teaching of Madhavdeva and being a purist group placed more important on ascentism, Kamalabari Satra,
Barpeta Satra and
Madhupur Satra are the three centers of this samhati. The last of the samhati, the
Kalasamhati concerned with the tribal and lowercaste societies, represented the offshoots of six
sudra satra and six brahmana satra formed by
Gopala Ata and his followers during the late 16th and early 17th centuries. The
Mayamara satra and Dihing Satra, the two most important of the sudra satras admitted various local tribes into its fold — Kacharis,
Kaibartas,
Chutiyas,
Morans,
Ahoms etc. The Mayamara satra formed by
Aniruddhadev (a disciple of Gopala Ata) later became the most prominent among the six sudra satra of the Kalasamhati and revolted against Ahom kingdom during the latter part of the 18th century. The first three samhati —
Brahmasamhati,
Purusasamhati,
Nikasamhati brought back the caste rules and Brahmanical rituals, while the
Kalasamhati rejected caste rules and
idol worship in its entirety. The
Ahom kingdom initially resisted the ingress of religious preceptors it finally endorsed the Satras, enabling them to establish themselves on sound economics, make themselves attractive to the lay people, and spread the Ekasarana religion. The 17th century saw the rapid growth of the Eksarana Dharma in
upper Assam and
Majuli became a focal point of Satra tradition and authority. The number of Satras grew during this period, 125 Satras built in the 17th century and 85 Satras built in the 18th century, while suffering two major setbacks —
Moamoria rebellion and
Burmese invasion of Assam. ==Cultural programmes==