Music Tradition of Kamrup-Kamakhya

MUSIC TRADITION OF KAMRUP-KAMAKHYA

Dilip Changkakoty

Kamakhya is a mystic place. This is the view of the devotees of India.

Kamakhya is a famous religious site known for practicing Tantra. Music is a
part of Trantic practices. Music in Indian Civilization is considered to be the
supreme or absolute knowledge (Para-vidya)1; it is placed even on a higher
plane then the Ten Great Knowledge system (Dasa-maha-Vidya). This is
universal knowledge (Viswa-vidya). Music is the knowledge of light or
enlightenment which is called the Gandharva-Vidya. He who embodies Gau,
that is, the ray of the Sun is a Gandharva(the Moon is called Gandharva due
to this reason). The music of the Gandharva is the music of light: the music of
creation-light-the Supreme Being (Brahma). This is celestial music2.

Music is a combination of song, instruments and dance. 3 Music is a fusion of

Rhythm or time and notes. Time is the fourth dimension. Our normal view is
three dimensional. Only the third-eye or the institution is capable of seeing
the fourth-dimension. This is why the worshipper of music is a seeker of the

1
Na Vid»¡ Sa´g¢tatpar¡
2
G¡ndharbbam¡rgak£¿alaÅ K¡Æsat¡ladhar°haparaÅ .. 38 .. G¡t£Å Sah¡yaÅ Kartav»aÅ
Pram¡danib¤ttay® .
Sa´g¢taratn¡karaÅ,
Paµcamast¡l¡dh»¡yaÅ
3
G¢taÆ V¡d»aÆ Tath¡ N¤ttaÆ TrayaÆ Sa´g¢tam£c»at® .. 21..
PrathamaÅ Sbaragat¡dh»¡yaÅ, PrathamaÆ Prakara¸am,
Sa´g¢taratn¡karaÅ
1
 Music Tradition of Kamrup-Kamakhya

highest realm of knowledge. That’s why Music is the highest form of

knowledge.

Music is a path of salvation. Its four elements are song (Geet), instrument
(Vadya), dance (Nritya) and salvation (Muksha). Salvation or liberation from
the self is the ground of the Indology (that is, Indian-knowledge-system).
Salvation or Muksha is an idea which can be felt. It is permanent, hence
static. Time or Tala and notes or Swara can be measured. Tala (Rhythm) has
its own bols (musical word). Hence, this could be listened. Dance is mainly
expressed by hand gesture. Hand Gesture or Hand (Hasta) means pose or
postures (Mudra).4 Posture is communicative. This could be seen. Mudra or
dancing postures are repertories of worship or work, thoughts arise out of
here and they connect (yoga) human beings with the sublime. This is why
Mudras are very enchanting.5

Raga makes the human mind blissful: Cittaraµjan¡dr¡gaÅ. 6

Grace, taste,
flavor, touch and sound makes human soul blissful. Sound is medium of
music. While graceful gestures are medium of dance. These two medium
create taste or attraction (Rasa), that is, the sublime feeling. At its highest
level Raga captivated the mind, which is the Anu-raga, next level of Raga.
After that extreme level consciousness melts into the energy point and it
attains the state of exaltation.

4
M£daÆ Dad¡ti Yasm¡t S¡ M£dr¡ T®na Prak¢rttit¡ .. 159 .. 57 Tam Adh»¡yaÅ, K¡lik¡pur¡¸am
5
Mudr¡su SaÆsthit¡ P£j¡ Sarbb®Àu Paricintanam . Mudr¡su SaÆsthit¡ Ý°gaÅ
Mudr¡ M°dakar¡stataÅ .. 99 ..
66th Chapter, K¡lik¡pur¡¸am
6
Cumbanabikalpaprakara¸am, 2Ya Adhikara¸®, T¤t°y°hadh»¡yaÅ, K¡mas£tram
2
 Music Tradition of Kamrup-Kamakhya

From the vary ancient times Kamrup-Kamakhya and Parasuram-Kunda are

being considered among the most sought-after places for the worshippers of
Aryabatta (Northern India). Kamakhya was linked through water-transport. In
the Mahabharata-era, the Purba-Sagar (the eastern sea, the Bay of Bengal
was formed much later) was spread up to the foot-hills of Kamakhya. 7 The
Karatoya River (modern Tista River?) merged with the Purba-Sagar. Lord
Vishnu started his sea voyage along with his son Naraka from Mithila, located
on the foot-hill of the Himalayas (Purba-Sagar had touched the foot-hill areas
of the Himalaya in those days) in an expedition to reinstate Naraka as the
king of Kamrupa. Ghataka, a local chieftain, was the then king of Kamrupa.
He was defeated & dethroned and Naraka become the King.8 Later, the king
of kamrupa, Bhagadatta and his army joined the battle of Kurukhetra in
favour of King Duryodhana (who was the son-in-law of king Bhagadatta).
Bhagadatta and his army started their sea-fare across the Purba-Sagar right
from Kamakhya and anchored at his base camp Bhagadattapur (modern
Bhagalpur, Bihar) on their way to Kurukhetra.

7
It»uktb¡ Bhagav¡n BiÀ¸ur¡d¡ya Narakahbayam .
S¡rddhaÆ Pathiv»¡ Ga´g¡y¡Æ Mamajja Jagat»aÆ PrabhuÅ .. 94 ..
Nimaj»a KÀa¸am¡tr®¸a Pr¡gj»°tiÀapuraÆ GataÅ .
Madh»agaÆ K¡mar£pas»¡ K¡m¡kh»¡ Ýatr¡ N¡yik¡ .. 95 ..
38th Chapter, K¡lik¡pur¡¸am
8
Verse no 97 – 117, 38th Chapter, K¡lik¡pur¡¸am

3
 Music Tradition of Kamrup-Kamakhya

The Kamakhya Temple at Nilachal Hill of Guwahati City

On the other hand, there was a well-developed surface transportation to

Parasuramkunda, now in Arunachal Pradesh. This route is currently known as
National Highway No 15 on the north bank of the mighty Brahmaputra River.
This ancient pilgrimage route was restored and renovated by Gohain Kamal –
a brother of the Great Koch King Nara-Narayana, so it is also known as
“Gohain-Kamal-Ali” It is noteworthy that there were provisions of rest house,
temples, shelters and meeting places at a distance of every walking day to
cater to the needs of the travelers. Sadhu, Mahatas and other pious people
took this route to perform holy dip, for immersion of mortal remains and to
see and touch the religious site. Most of the pilgrims were learned and ascetic
people. Many of pilgrims settled here due to various reasons such as
diseases, fatigue and others. Their descendents are spread across the two
sides of this ancient road. The people of the north bank are in general very
active and hospitable. Temples or religious sites are carriers of culture and
civilization. In ancient times a temple cast its influence over a large area. 9

9
79th Chapter, K¡lik¡pur¡¸am

4
 Music Tradition of Kamrup-Kamakhya

Parasuramkunda at Arunacha Pradesh

Bh¡skaravarma¸i Ý¡t® Survasanti V¡rit¡hapi

Bh£patin¡ .
TadduÅkhamasaham¡n¡ Praviv®¿a Vil¡sin¢
Dahanam .. 561 ..
D¡m°daraguptaviracita Ku¶¶an¢matam

There is literary evidence that a prostitute took her life by burning herself
being unable to bear the pain at the death of Kumar Bhaskar Barman, the
Great King of kamrupa. In the seventh century AD, prostitutes (Vilasini that is
enter-trainers) were trained dancers also. It implies the prevalence of music
in Kamrupa. As for example, according to Kalikapuranam, one hundred and
eight hand gestures were practiced in the Kamakhya Temple, fifty-five out of
these were practiced in worship, and the remaining fifty-three Mudras were
used in other ritualistic functions. 10 (However, I found only sixty-six Mudras in
Kalikapuranam).11

Swargadeu Rudra Singha (1696 – 1714 AD) sought to expand the Ahom
Kingdom up to the bank of the river Karatoya.12 He changed many rules and
customs.13 He used to hold Durbars (means Royal court) like the Mughal
emperors. He introduced Thumries, Bhajans and others along with Vaisnavite

AÀ¶°ttara¿ataÆ Mudr¡ Brahma¸¡ Ý¡Å Prak¢rttit¡Å . T¡s¡ntu Paµcapaµc¡¿ad®t¡ Gr¡h»¡sttu

10

P£jan® .. 29 .. á®À¡sttu â¡stripaµc¡¿anmudr¡st¡Å Samay®Àu Ca . Dab»¡nayanasa´k®ta-

Na¶an¡diÀu T¡Å Sm¤t¡Å .. 30.. 66th Chapter, K¡lik¡pur¡¸am
11
66th Chapter : Verse No 23 to 28 & 54, 78 and 88; 53 th Chapter : Verse No 13; 74th Chapter : Verse No 1, 2,7, 10 to
14 and 72nd Chapter : Verse No 61 -…. K¡lik¡pur¡¸am
12
Page No 17 – 18, Tungkhungia Buranjo : ed. Bhuyan, S. K.
13
Satsari Asom Buranji: ed. Bhuyan, S. K.

5
 Music Tradition of Kamrup-Kamakhya

songs.14 The mistresses (Ligiri) or women attendants of the palace performed

dance and songs at the royal court. 15 Pakhowaj, a kind of percussion
instrument, was an essential part of such entertainment oriented dance
functions. Khaunda were sent outside of the kingdom for learning Pakhowaj.16
Sattriya and Suttradhari dancers had to wear a turban like the Mugals when
they performed at the royal court. This is the Mugalai-turban of Suttradhari
dance form.17 Swargadeu Rudra Singha wrote lyrics in the style of Thumri. He
used Thumri, Khemta, Jhap, Tri-tala and others which were used in Indian
Classical tradition.18 As said earlier, Pakhowaj was introduced in the dance
function in the royal court. 19 Dholoka had been introduced.20 New designs of
attire had been introduced following the pattern used by Radha-Gopis in
Vrinaban, e.g. Apsara Nritya of Auniati Sattra or Indravishekh Nritya of
Dakhinpat Sattra.

14
……… During the reign of this king Bengali musical group came from Bengal and the king and his
ministers were very delighted at this. Henceforth, Bengali songs and music had been introduced here…
Asom Buranji : ed. Bhuyan, S. K.
15
I had the opportunity to go through an old manuscript written on Sansi Pat about the rhythm-notes and
rhythms of Ligiri Nach at the residence of Late Anada Mohan Bhagawati, former Director of the Cultural
Affairs: Assam, when he was alive…..
Also see: Karengar Nachanir Nach, P 357, Asomiya Biswakosh – Publication Board, Assam
16
Asomiya Sangeetor Oitijya :Dutta, B. N.
17
Sattriya Nritya aru Sattriya Nrittar Taal : Neog, M and Changkakoty. K.
18
Thumri, Khemta, Jhap, Tri-tala and others are still practiced in the Auniati-Sattra. I have compiled them
in my work Auniati Sattrat Taal
19
Sattriya Nritya aru Sattriya Nrittar Taal : Neog, M and Changkakoty. K.
20
This percussion instrument still used by the Auniati Sattra, which was patronized by the Ahom King since
its establishment.

6
 Music Tradition of Kamrup-Kamakhya

An old-devotee follower Late Maheswar Bora, Auniati Sattra, Majuli played the DOLOKA

Swargadeu Rudra Singha entrusted the task of regularizing the religious

customs and practices to Krishnaram Bhattacharjee Aham-Bagis (Scholar of
Trantra Sashtra). He resided in a hill (Neel-Parbat), so he became known as
Parbatia-Gosain.21 This arrangement had contributed to a closer proximity
between Kamakhya and Banga, Odisha and Eastern Bihar. Closer relations
were also developed with Brindaban, Mathura and others.

Moreover, the Swargadeu made it obligatory for all the noble-men to take the
initiation into the Vaishnavism under Parbatia-Gosain. As the number of
noble-men got increased, Parbatia-Gosain delegated the authority of giving
initiation to four Brahmin Sattras and the some other persons also. 22 This
arrangement bore a far reaching consequence in turning the Kamakhya
Temple into a meeting place of the Sakta and the Vaishnava cultures. It is
quite visible in the Ambubasi, the main festival of Kamakhya. In other festival
like Devadhani, Durga-puja and others the pre-eminence of Thalagiri music is
obvious.23 Oja-pali and Deodhani-Deodha musical dance forms were
21
Asom Buranji : ed. Bhuyan, S. K.
22
A History of Assam : Gait, E.
23
Thalagiri-musicology or Ethnomusicology is the study of music of music of a region in the context of
indigenous culture, sociology, sciences, mode of communications and vocal variations and others.

7
 Music Tradition of Kamrup-Kamakhya

performed. Once upon a time Devadasi were performing at Kamakhya. On the

whole, Indian Classical Musicians from Banga, Odisa and Eastern Bihar
Worshiped music in Kamakhya for attaining success in their pursuit.

After the Burmese invasion, Assam came under the rule of “East India
Company”. Bengal came into closer contacts. 24 On the other hand, thousands
people became refugee in the aftermath of Burmese atrocious aggressions.
The higher-ups of the Ahom nobility came to Guwahati in search of safe
haven and livelihood. The British company set-up its court in Guwahati. The
last Ahom princes Kandarpeswar Singha and Kesanhavkanta Singha also
resided in an area called Rajbari near the present Uzanbazar locality of
Guwahati.

Some of the gentlemen having clout in the administration as well as in royal

house shifted to North-Guwahati and become permanent residents there. 25
They were regarded as nobles or influential people. In that period a tendency
to imitate the Bengali Babus grew up among the Assamese higher-ups. Same
tendency was discernible in the musical sphere also. A good number of
Assamese people learnt Hindustani Music from Bengali Ustads. Some had
even learnt Classical Bhajans from Pandits, who came to Assam with the
Marowari traders, finding in them similarity with our Borgeet. This process
continued. We had heard of a Pandit named Bongshibat Pandey; he used to
stay at a temple near the Railway gate at Fancy-Bazar. Sashi Goswami, Dr
Bhupen Hazarika, Keshab Changkakati, Khirakanta Bishoya, Nirod Roy and
the likes were learning classical music from Panditji. Some others were
learning Pakhowaj playing from him.26

24
According to the account of Harakanta Barua Sadaramin, Commissioner David Scott occupied Rongpur,
the then capital of the Ahom Kingdom on 2 nd February, 1826. See : Asom Buranji : ed. Bhuyan, S. K.
25
See, Harakanta Barua Sadaraminar Atma Jiboni, L. B. S.
26
My telephonic discussion with the eminent Tablist Pandit Sukumar Barthakur, on 16 th March 2018 at
5:52 pm

8
 Music Tradition of Kamrup-Kamakhya

In those days Bengali Yatra-Party dedicated their first day performance to

Mother Goddess Kamakhya, which was observed by them as a tradition. The
building structure of the Kamakhya Temple provided appropriate space for
such performances. The stair-case outsides its stage were used by the
viewers like galleries. Similarly, these are instances of dedicating music in the
theatre-hall of Kamakhya by many of the stalwarts of Indian Classical music:
Pandit Bhimsen Joshi, Pandit Yasraj, Pandit Kishan Maharaj, Pandit Santa
Maharaj, Pandit Chimoy Lahiri, Pandit Birju Maharaj, Pandit Hari Prasad
Chauachiya, Ustad Amjad Ali Khan and others such legendary musicians of
India offered their music to Mother Goddess Kamakhya – I personally
witnessed it.27

Sarod-Samrat Baba Ali Akbar Khan, Pandit Kumar Bhattacharjee and others
even resided in the Kamakhya Temple area for worshipping music dedicating
them to the Devi (Mother Goddess Kamakhya).28 I came to know from Baba
Ali Akbarji himself that it is their family tradition that they have to offer music
to Mother Goddess Kamakhya at least once in a year. Innumerable numbers
of Sadhus-Santa-Mahatas (religious devotees of higher order) came to
Kamakhya in pursuit of music, undertook Tapas, many of them even laid
down their lives here. One Naga-Baba resided in the Lolita-Kanta Temple here
in Kamakhya hill till 1972. I had a good acquaintance with this Baba. Being in
the close proximity with such eminent musicians the Pandas (religious guides
of the temple) were also attuned to Indian Classical Music, not only as
listeners, but as practitioners also. Vaidyanath Bhattacharjee, Hirendra nath
Sarmah, Mahadev Sarmah, Ramdas Kalita, Kishore Sarmah and others were
prominent among the Kamakhya residents who excelled in the Hindustani
Music.29
27
Do
28
Do
29
Do

9
 Music Tradition of Kamrup-Kamakhya

According to Natya-Sashtra of Bharatmuni, there are four streams (Prabritti,

local usages in dramatic representation, which are distinguished from each
other on account of differences in costumes and language, manners and
professions) of Indian music, they are Dakshinatya, Avanti,
Panchalamadhyama and Odramagadhi. 30 Odramagadhi was prevalent in
Nepal, Banga, Odissa, East Bihar, Kamrupa and others. 31 It is a separate
stream. Here, Raga-Tala and Mudra are applied in a different manner. For
example, the Talas like Pori, Jati, Chuta, Doskosi are not used in other Indian
Musical stream. Hence, the music practiced in Kamrupa-Kamakhya is
somewhat different from the rest part of the country.

In the early days of the Company rule, Harakanta Barua Sadar-amin invited a
person named “Pinaki” to settle at Madhyamkhanda of North Guwahati from
Kurua. Pinaki belonged to the family of Changkakoty (“Chang” means Royal
Palace and “Kakoty” means the writer, that is, one who write the royal court)
and he had a considerable influence both in Rajbari (Royal mansion) and
British administration. Pinaki’s eldest son Durbadatta had a great interest in
music. He was a singer in the royal court. He sang traditional Assamese
Vishnavite Music such as Borgeet, Ghosa, Pada (verse), Lyrical poems and
others with precision. He had some very good pupils or disciples like Dehiram
Patgiri, Umakanta Majindar Barua, Gojar Bordoloi and others. Durbadatta’s
son Durllabh Changkakoty, Dehiram’s son Kirtinath Bordoloi, Dandi Kakoti,
Prafulla Barua and others had carried forward the legacy of Durbadatta. 32
These people are regarded among the morning stars of Assamese modern
music. Prafulla Barua was the father of Pabbot Prasad Barua, Durllabh’s son
30
Sattriya Nritya aru Sattriya Nrittar Taal : Neog, M and Changkakoty. K.
31
Õ·ram¡gadh¢ (Prav¤tti) is the local usage of eastern countries, including A´ga, Ba´ga,
Among these four,
Kali´ga, Batsa, Õ·ra, Magadha, Pu¸·a, N®p¡la, Antargiri, Bahirgiri, Prava´ga, M¡h®ndra, Malada,
Mallavarttaka, Brahm°ttara Bh¡rgava, M¡rgava, Pr¡gj»°tiÀa, Pulinda, Bid®ha, T¡mralipta and
Pr¡´ga. Pr¡gj»°tiÀa here is K¡mar£pa or modern Assam.
32
Letter of Rajani Kanta Bordoloi

10
 Music Tradition of Kamrup-Kamakhya

Dr Debendrachandra Changkakoty was also a singer of repute. 33 Dr

Changkakoty wrote “Sangit Upakramanika” (Part 1 and 2) – an authoritative
book on music in Assamese as early as in 1932. Dr Changkakoty’s one
nephew was Keshab Changkakoty, a well known specialist on Tabla and
Sattriya Dance & music. He was co-author along-with Dr Maheswar Neog of
the path-breaking book “Sattriya Nritya aru Sattriya Nrityar Tala”. Besides, he
wrote some outstanding books like Rhythm in the Vaishnava Music of Assam,
Taal-Pradip and Shraboni Sattrar Taal.

Dr Debendrachandra Changkakoty was practiced Borgit (January, 1922)

Nitai, the ancestor of the Changkakoty family belongs from the family of
Chaturvedi’s of Mathura Krishna Temple. Hence, this family has a cultural
heritage from Mathura. “Shree Krishna Janmastomi” is the main festival of
this family. A special music & dance was performed in the Namghar (Joyram-
Baliram Namghar) of Madhyamkhanda (North Guwahati) in the 60 decade.
Kumud Chandra Bordoloi, who was the Great-grandson of Harakanta Barua
Sadar-amin had documented the same. I had a chance to study his

33
See: The notation of Borgit of Dr Debendrachandra Changkakoty’s book Sangit Upakramanika (Part – 2)

11
 Music Tradition of Kamrup-Kamakhya

documentations and observed that these are Baha-Nam & Hira-Nam, but the
steps are quite differing from the traditional one.

Some steps of Hira-Nam documented by Late Kumud Chandra Bordoloi

In the 18th century there came to Assam the Ustads and Yatra troupes from
Bengal. Before going back to their home they were often invited to take part
in Baithakis or music clubs organized by royal deputies or officials. Perhaps it
was an imitation of the Bengoli-Babus’ and Jamindars’ pleasure-seeking life-
style. In North Guwahati, Bengali Yatra functions continued for several days.
Likewise, Sadhu-Mahantas coming from Vrindaban held assemblies of dance &
music. People of North Guwahati hosted these programs and bid them

12
 Music Tradition of Kamrup-Kamakhya

farewell with gifts, cloths and money. There are rumors that some officers
even brought Baiji from Bengal.34

Anyway, a musical atmosphere developed there. The villagers took a state of

music and learnt it. However, there cropped up a shimmering tension
between the traditional vaishnavite music and the alien Bengali cultural
waves.35 In this backdrop, a process of restoring Assamese language and
culture in its original forms grew up. A new movement got started.
Interestingly, this was initiated by a section of the officials who served the
company rule or the erstwhile royal power.

BIBLIOGRAPHY

Sanskrit:

1. Rik-veda (Vol I & II), Ed – Bandopadhya, H

2. Samveda, Ed – Thakur, P
3. Yajorveda, Ed – Goswami, B B
4. Athrbaveda, Ed – Goswami, B B
5. Natyasashtra of Bharat Muni, Ed - Nagar, R S
6. Abhinayadarpan of Nandikeswar, Ed – Chaliha, P
7. Sangitratnakar of Sarangadeva, Ed - Sastri, S S & Sarada S
8. Rajatarangini of Kalhan, Ed – Pandey, R S
9. Kuttanimattam of Damodargupta, Ed – Sarmah, S
10. Harshasarit of Banabhatta, Ed – Panta, M D
11. Dashrupakam of Dhananjoy, Ed – Pandeya, Dr V
12. Sringartilakam of Kalidas, Ed – Giri, Dr K
13. Kamashutram of Vatsayan, Ed – Sastri, D
14. Sahityadarpan of Vishwanath, Ed – Sastri, S
15. Kalikapuranam of Markendeya, Ed – Tarkaratna, P
16. Yoginitantram, Ed – Saraswati, Swami S

I heard it from some elderly persons of North Guwahati in the 70’s

34

The review of Sangit Upakramanika (Part – 1) By Dr Debendrachandra Changkakoty in “The Times of

35

Assam”, Dibrugarh; 7th January, 1933

13
 Music Tradition of Kamrup-Kamakhya

17. Gotamiyatantram of Maharshi Goutam, Ed – Jha, B

18. Srihastamuktavali of Shubhangkar, Ed – Neog, M
19. The Students’ Sanskrit English Dictionary, By - Apte, B S

English:

1. Gitagovinda of Joyadeva, Ed – Miller, B S

2. Northern Indian Music (Vol I), By – Danielou, A
3. Music of Eastern India, By – Ray S
4. The Music of India, By – Popley H A
5. A History of Assam : By - Gait, E.
6. Rhythm in the Vaishnava Music of Assam, By – Neog M & Changkakoty, K
7. Psychology of Laya, By – Rao, S K R

Hindi :

1. Thumri ki utapatti, vikash aur shailiya, By – Shukla, Dr S

2. Table ka udgam, vikash aurShailliya, By – Shukla, Dr J
3. Nrityakala, By – Prasad, U

Assamese :

1. Satsari Asom Buranji, Ed - Bhuyan, S. K.

2. Tungkhungia Buranjo, Ed- Bhuyan, S. K.
3. Asom Buranji , Ed - Bhuyan, S. K.
4. Swara-rekhat Borgit, By – Neog, M: Phulan, B N & Das, P
5. Sattriya Nritya aru Sattriya Nrittar Taal, By - Neog, M and
Changkakoty. K.
6. Shrabani Sattrar Taal, By - Neog, M and Changkakoty. K.
7. Harakanta Barua Sadaraminar Atamajiboni, Ed – Bordoloi, K C
8. Sangit Upakramanika (Part – 1). By - Changkakoty, Dr D C
9. Sangit Upakramanika (Part – 2). By - Changkakoty, Dr D C
10. Janmastomir Geet, By – Bordoloi, K C
11. Asomiya Biswakosh – Publication Board, Assam
12. Asomiya Sangeetor Oitijya :Dutta, B. N.
13. Charyyapad, By – Hazarika, Dr P

14
 Music Tradition of Kamrup-Kamakhya

14. Prashya-Shasanaboli, - By – Neog, M

15. Asomiya Bhasar Utapatti aru Krambikash, By – Hazarika, B
16. Sahitya Darshan, By – Sastri, M
17. Nirbachita Prabhandha, Ed – Baruah, B
18. Auniati Sattrat Taal, By – Changkakoty, D

15