The process of bringing the Vrindavani Vastra from London is an awakening of cultural consciousness. It reminds us how deep our roots extend –– Himangshu Ranjan Bhuyan
The colourful pages of the cultural and spiritual history of the Assamese nation bear witness to the Vrindavani Vastra as far more than an ordinary work of art; it stands as a revolutionary vision, a profound spiritual consciousness, and an eternal symbol of the pride of Assamese weavers. What emerged in the sixteenth century from the creative genius of Jagatguru Srimanta Sankardev, the founder of Neo-Vaishnavism in Assam, combined with the unparalleled technical skill of Assamese weavers, was this very Vrindavani Vastra. Through this fabric, not only are the lilas of Lord Krishna in Vrindavan depicted, but woven into every thread is a document of mediaeval Assam's social system, economy, art, culture, and religious beliefs. At a time when we search for our identity on the world stage, the Vrindavani Vastra reminds us that our ancestors were capable of carving a unique place in the world not only through arms or empires but also through refined art and technology. Just as its past is glorious, its present has been fraught with conflict, and similarly, the effort to preserve and revive its future is a national responsibility. Especially in recent times, the historic step taken by the Government of Assam has kindled hope for the recovery of this near-lost glory, a moment that is both emotional and historic for the entire Assamese nation.
Turning the pages of history, we find that behind this great creation lay the special spiritual curiosity of Koch king Naranarayan and an innovative strategy of Srimanta Sankardev for propagating religion. King Naranarayan had requested the Mahapurusha to show him the scenes of Krishna's Vrindavan lila. Yet Sankardev knew that mere verbal description could never convey that vast spiritual experience. Therefore, taking twelve skilled marali, or weavers, from the Tantikuchi area of Barpeta, he planned this seemingly impossible achievement. Under the leadership of Mathuradas Burha Ata, these twelve artisans wove the cloth with relentless labour, devotion, and dedication for nearly a year. The size of the fabric was enormous-120 hands in length and 60 hands in breadth. Its weaving technique was far more distinctive and advanced than the methods prevalent at that time. The 'lampas' or double-weaving method was employed, by which images were created on the base fabric with another layer of threads. Because of this technique, the pictures on the cloth appeared in three-dimensional relief. Various lilas from Krishna's birth to the slaying of Kansa-such as the subduing of Kaliya, the killing of Bakasura and Dhenukasura, the lifting of Govardhan, the Rasalila, and others-were depicted with extreme finesse. Beneath each image, its description was written in the Brajawali language, transforming the cloth into a 'living scripture'. So that even illiterate people could understand the stories of the Bhagavata simply by seeing them and immerse themselves in devotional ecstasy, it served as a powerful audio-visual medium.
The preparation of the colours used in the creation of the Vrindavani Vastra was an ultimate example of the chemical science of that era. The dyes were made entirely from natural substances-bark, roots, flowers, fruits, and various minerals. Astonishingly, even after five hundred years, the brilliance of these colours has not faded. The technique our weavers knew for fixing colours so permanently on muga and silk threads remains a subject of research for modern science. This cloth was not merely a piece of fabric; it was powerful evidence of the Assamese nation's economic self-reliance and artistic skill. Yet, with the cruel passage of time and political changes, this invaluable treasure departed from Assam. After being presented to King Naranarayan, the cloth passed through many hands and finally reached a Buddhist monastery in Tibet, where it was venerated like a Buddhist 'thangka'. At the beginning of the twentieth century, British journalist Percival Landon collected a portion of this cloth during an expedition to Tibet and brought it to London, donating it to the British Museum in 1905. For a long time it was mistakenly thought to be Tibetan art, but in 1992 researcher Rosemary Crill uncovered its true identity and proved that this was indeed Sankardev's historic Vrindavani Vastra.
At present, a new awakening has begun for the restoration and preservation of this heritage. The people of Assam had long cherished a yearning to see this cloth on their own soil. The recent steps taken by the Government of Assam towards realising that yearning have infused fresh hope. Under the leadership of Assam's Chief Minister Dr Himanta Biswa Sarma, a government delegation recently held important discussions with the authorities of the British Museum in London. The primary objective of these talks was to bring back home this cloth, which is nothing less than the soul of Assam, presently preserved on foreign soil. Happily, these efforts have borne fruit, and an understanding has been reached between the two parties. According to the agreement, in 2027 the largest portion of the Vrindavani Vastra will be brought to Assam for exhibition for some time (initially planned for six months, though the period may be extended). This news has created waves of joy throughout the state, for generations that had only read about or heard of this cloth in books and discussions will now have the opportunity to behold it with their own eyes. It will not be merely an exhibition; for the Assamese people it will be a sacred experience akin to a pilgrimage.
For this historic exhibition, merely bringing the cloth is not enough; preparing the necessary infrastructure to keep it safe is equally important. This five-hundred-year-old fabric is extremely sensitive, and even slight variations in temperature or humidity can damage it. Therefore, the Government of Assam has undertaken the plan to construct a world-class, state-of-the-art museum at Khanapara in Guwahati. Land has already been allocated for this purpose. The responsibility for constructing the museum has been taken up by the JSW Foundation of Sajjan Jindal of India's leading industrial group, JSW. Following the advice and guidance of experts from the British Museum, they will build the structure so that the same standards of protection and environment available in London are ensured here as well. This museum will become a milestone not only for the Vrindavani Vastra but also for the preservation of other endangered art and culture of Assam. As announced by the Chief Minister, after the exhibition in Guwahati, the cloth will also be displayed in major cities of the country such as Delhi and Mumbai. Through this, the whole of India will come to know about Assam's rich history and Sankardev's contribution, thereby enhancing Assam's cultural stature at the national level.
When we think about the future preservation of this historic Vrindavani Vastra, we realize that merely bringing it back or exhibiting it is not sufficient. Our main goal must be the revival of this endangered art form. The famous 'lampas' weaving technique used in the Vrindavani Vastra is on the verge of disappearing from our society today. Only a very few weavers now master this complex skill. Therefore, through joint initiatives of the government and the Xattras, arrangements must be made to train the new generation of weavers in this method. The Handloom Department of the Government of Assam has already taken some steps in this direction. Through research, the scientific methods by which those ancient natural dyes were prepared need to be rediscovered. If we can adapt these techniques to modern textile production and bring them to the market, it can bring revolutionary change to our rural economy. If sarees, gamosas, or mekhela-chadors inspired by the Vrindavani Vastra are produced and established in the global market with a 'GI' tag, our weavers will receive their due reward.
Moreover, so that our new generation may learn about their heritage from childhood, detailed discussion of it must be included in the curriculum. We must present our heritage to the world not merely out of emotion but on the basis of reason and research. The xattras, which are the life-centres of our culture, must also be actively involved in this preservation process. The ancient manuscripts and other art forms preserved in the xattras, along with the practice of textile art, need to be revitalised.
To regard the process of bringing the Vrindavani Vastra from London as merely a political or administrative success would be a mistake. It is an awakening of cultural consciousness. It reminds us how deep our roots extend. When in 2027 this cloth sets foot once again on Assamese soil, that moment will be for us an instant of cosmic connection-when those threads blessed by Mahapurusha Sankardev touch the air of their birthplace again after five hundred years. The sight of this cloth will awaken feelings of unity, devotion, and aesthetic sense in our society. It is our duty to extend full cooperation to the government's efforts and to safeguard this heritage for future generations. We must vow that the Vrindavani Vastra will not remain confined within a glass case in a museum but will live again through our way of life, our thoughts, and our creativity. Keeping alive this glorious chapter of the Assamese nation is the moral and social duty of each one of us. In the days to come, may the Vrindavani Vastra become a radiant symbol of the Assamese nation's renaissance, in whose light our past, present, and future will be illuminated.
(References drawn from several books, various essays, and writings available on the internet. The author can be reached at himangshur1989@gmail.com.)