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A Naamghar/Kirtanghar is the main nucleus of a Sattra. Also called Harigriha or Devagriha, it is described by the scholars as the centre of all the main activities of a Sattra. It is the main prayer hall of the Sattra. It is a large open hall with gabled roof (sloping roof) having an apsidal façade in the western side and over which there is a Tup on the roof. This Tup, in most cases, is made of brass or other metal and can be thought of as derived from the Amlaka and Kalasa- the structures crowning the tip of the Sikhara or Vimana in classical Hindu temple architecture .The apsidal roof has an elaborate structure in either wood or metal like brass which is very typical of Naamghar construction.
The interior of the Naamghar comprises of a simple central part for congregation and two aisles with massive wooden pillars. These pillars called Khutas divide the area loosely into chambers. They are erected with wooden beams supporting an architrave over which rests the roof. These wooden beams called Chatis are either elaborately carved with floral motifs or painted. The false ceilings made by joining the Chatis are used for storing the large bamboo masks and other paraphernalia of Ankiya Bhaona performances. The nave is extended all over the pavilion to widen the shade. This forms the Verandah and the devotees sit here. The Verandah is lined by ornate pillars mainly of wood and plaster which supports the roof.1 The architecture of the Kirtanghar of the Sri Haati Sattra, established in the Sixteenth century CE at Sualkuchi, completely obeys the above description but with a few minor variations.
The western side which is the apsidal façade serves as the main door to the Naamghar. The whole structure of the Naamghar can be conceived as the sleeping Eternal Purusa or the Cosmic Man,( corresponding to the norms of the Vastu Sastras) with the western side of it ( apsidal façade or the main door) as the Pada or the feet section. In the Haati Sattra, the Pada section or the main door of the Naamghar is guarded by two Simhas or lions carved out in round from single block of wood. In Assamese or Sankardeva’s neo- Vaisnavism, Simha or the Lion is the representation of the Pure soul who recites the Hari Nama or the Bhagavata ( In the Kalikapurana, Hari or Visnu is the lion and he serves as one of the seats of goddess Kamakhya). The main door to the Naamghar called the Simhadwar is made of brass with intricate ordered and rhythmic decorative inlay work of mythological as well as floral imagery with brass sheets only.
The northern and western walls, the decorated beams and several round sculptures of the Kirtanghar are totally made of a type of durable as well as scented wood called Padma Basi where Padma means lotus and Basi means scent , that is- The wood having the scent of Lotus. The southern wall is built of Chun Chuki or a local variety of limestone plaster.
The wooden part constitutes majority of the structures of the Kirtanghar. Attached to, and, adjoining the Naamghar is the Bhajghar or the Manikut. It is an adjunct of the Naamghar located at the eastern end of it. In the Haati Sattra or in the Barpeta group of Sattras, the Manikut is called Bhajghar because here the building has bent or arched roof with drooping ends. It is the main Sanctum Sanctorum where idols, precious ornaments, utensils, manuscripts and other valuable belongings and possessions of the Sattra are stored and consecrated and looked after daily by the head priests (Sattradhikars) and his associates.
On the northern side of the Naamghar, there is one more door which is called Gouna Dwar (secret door) or Paati Dwar. In the Kirtanghar of every Sattra, the Paati Dwar serves an access to the Manikut through the Kirtanghar. It is seldom opened for devotees(except for during festivals). It is used mainly by the priests and monks of the Sattra. The Paati Dwar of the Haati Sattra like the main door or Simha Dwar is a majestic one with intricate inlay works in brass.
The whole structure of the Naamghar is a representation of pure proportion and rhythmic as well as harmonious arrangement of horizontal and vertical surfaces. Further the calculated distribution of the ornate pillars lining the verandah and supporting the roof add to the complete beauty of the low structure and elevates its grandness. The pillars mostly made of concrete and plaster with typical pot like capitals and slight tapered shafts are a replaced version of the old wooden pillars.
The artistic forms adorning the Sattra buildings serve several functions in keeping the basic structure of the Sattra buildings standing. The artisans who made these artistic masterpieces were well aware of the factors like light, dampness, air circulation etc. The northern wall which is made of Padma Basi wood is adorned by parallel horizontal panels of colourful reliefs depicting scenes from the Bhagavata Purana, Dasama and Prahlad Caritra. The relief figures have a strong expressive quality in them.
The door called Paati Dwar on the northern side have intricate inlay work of brass depicting the Avatars of Vishnu and perhaps the AsthaVasus or the eight Vaisnavas and floral creeper designs. The figures resemble the figures of the manuscript paintings of the Sattriya school. Also, they are somewhat akin to the figures of the folk ritualistic paintings of Gujarat known as Mata ni Pachedi and Raghuraj Patacitras of Odisha to some extent. There is not much detailing of the features of the figures. These are indicated by a few incised lines. Accompanying each figure of the Avataras, is an inscribed writing indicating the name of the Avatara. This writing is in the Kaitheli script and names are like ‘Sri Varaha’, ‘Sri Janaka’. Crowning the Paati Dwar, is a large wooden arched decorative crest with relief of Ananta Shesashayi Narayana with Goddess Lakshmi pressing his feet. Surrounding the divine figures are reliefs of peacocks and flowering creepers and colored patterns.
On the western side of the Kirtanghar where there is the Simha Dwar or the main door of entrance, are reliefs of the scenes of Ramayana along with panels of floral reliefs. The Simha Dwar like the Paati Dwar is also of brass with delicate detailed inlay works depicting the Dasa Avataras of Lord Vishnu. Here also inscribed writings in Kaitheli script are noticed. Over the Simha Dwar is a large wooden arched crest with an elaborated relief of Lord Vishnu in Vaikuntha. The arch here is the typical decorative cusped foiled arch with symmetric floral creeper designs. Here the arch portion is decorated in the manner of a traditional ornament called Kopaali in Assamese.
Coming to the southern wall of the Naamghar, this wall is made of Chun Chuki with infused wooden reliefs. Here the reliefs mainly elaborate the episodes of the Garuda Purana, Mahabharata, Ramayana and the Chaturvimshati (24) Avataras of Lord Visnu and other divinities like the ten handed Mahisamardini Durga who is known as Katyayini in the Kalikapurana. Though the imagery of the ten handed Durga is present in neo- Vaisnava literature, the narrative of her slaying Mahisasura is not known of or given a place here. Portrayal of such an image in the architecture of a neo- Vaisnava Sattra is a rare feature which needs deeper study. All the wooden images in relief have their negative spaces removed to create holes to allow light and air inside. An interesting combination of form and function can be seen here.
Coming again to the northern side of the Naamghar, the Paati Dwar is flanked on both sides by two life size wooden sculptures in round, one of them is of Ananta Narayana. Here, the human form of Ananta holds Lord Narayana in his lap. Behind him is the nine hooded celestial snake Ananta Sesa. The other sculpture is of Pancavaktra Shiva (Five faced Lord Siva) mounted on the bull Nandi and holding his consort Goddess Parvati on his left lap. The two sculptures carved out of single blocks of wood holds a special place in the area of architectural sculpture of Assam. Both the two majestic sculptures serve as pillars and maintain and regulate a large portion of the structural thrust of the building of the Naamghar. These two sculptures have an air of reflective perfectness within themselves. Further, there are also two life size round wooden sculptures of Lord Garuda and Lord Hanumana inside the Naamghar close to the main door. The Bhajghar or the Sanctum Sanctorum of the Haati Sattra is also a rich repository and a treasure of wooden sculptures and other precious artworks.
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