Beyond Kamakhya: Dirgheshwari temple and the Shaktism of Assam

The latter part of June is always an exciting time to be in Assam, especially to be in Guwahati and even more so if one happens to visit the iconic Kamakhya shrine. It is the time for the annual festival of Ambubachi, a festival that celebrates the menstruation of Goddess Kamakhya. The place is teeming with people after the festival and once a visitor has had his darshan, he would be well advised to head north.

Across the Brahmaputra, in Kamrup district, are several ancient temples of great interest to explorers and history buffs. Temples like the Dirgheshwari. Standing atop the Braghyachal Hill, the temple shares many similarities with the Kamakhya. Dated to ancient times, the current structure was constructed under the patronage of the Ahom ruler Siva Singha, who reigned in the first half of the 18th century CE.

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The location on a rocky hill, amid natural vegetation and the river not far away, reminds one of what the Kamakhya may once have been before the area changed character and became urbanized. The word ‘Dirgheshwari’ translates into ‘the eternal’ or ‘long-lived’ Goddess and symbolizes an ever-present form of Shakti. Like the Kamakhya, this temple too was sacred for Tantric practices.

According to folklore, the Dirgheshwari Temple is a Shakti Peetha. It is believed that when Satri’s body was dismembered, parts fell in different places across the Indian subcontinent. It is believed that while her womb fell on the spot where the Kamakhya Temple was built, another part – of lesser importance – fell on the Braghyachal Hill. The Dirgheshwari, thus, is a Upa Peetha, meaning subordinate.

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A visitor enters the complex via a recently built gateway flanked by two stone tigers (as shown in the lead picture). A long flight of steps leads up to the shrine. Another gateway comes up, painted a bright pink, with two gold-painted icons embedded in its walls. The colours of the brick temple inside are similarly bright, but a step into the inner sanctum reveals a very different picture.

The sanctum of the Dirgheshwari Temple is a subdued place compared to the colourful exterior. The main idol, of Durga, is considered a Svayambhu or self-manifested. Like many other Shakti shrines, this sanctum is part of a natural rock formation. The interior is rather dark, almost cave-like. Embellishment is by way of red cloth and flowers, but the overall effect is of minimalism. Within the temple compound are several scattered idols which appear ancient, perhaps part of the original temple that once stood here.

The priests here follow Shakta traditions of worship, blending Vedic and Tantric rituals. In line with such traditions, animal sacrifice is still prevalent – another aspect that links it to the Kamakhya. And similarly, this temple too marks the Ambubachi Mela, albeit on a much smaller scale than the fair at the Kamakhya. Crowds are also seen on Sankranti and Amavasya here. Locals, especially women, visit the temple seeking blessings for fertility, health and protection. Their offerings comprise vermilion, bangles, and coconuts.

The Braghyachal Hill is home to more than just one temple, however significant. The first thing that strikes a visitor when he begins walking up are the many icons carved on the hill rocks. Numerous in count and spread across the hill in a rather unplanned manner, these carved icons date back to the 11th century, and many have become shrines in their own right. There are multiple depictions of Ganesha, including one of immense size that has been coloured orange with layers of vermilion. A Hanuman carving, of almost the same proportions, is close by.

Amidst the numerous divine forms carved here is a Ganesha with another celestial being next to it. A Shiva linga is carved into the ground, and the faithful have placed multiple tridents in proximity. Near at hand is a plain area of rock with a few holes in it. Local lore holds that this spot marked the place where Shiva’s consort Parvati used to weave. As a result, local women offer threads at this spot to get Parvati’s blessings for becoming experts in weaving themselves.

Far from the crowds that throng the Kamakhya through the year, amidst the forests, the Dirgheshwari is a study in solitude and devotion. It is in this rural setting that one can appreciate the Ambubachi Mela better. ‘Ambubachi’ refers to being ‘spoken with water’. Rain is expected to follow the festival to make the earth fertile and ready for procreation. During the four-day period of this festival, daily worship is forbidden, as are agricultural activities.

On the fourth day, with Ambubachi concluded, household items and clothes are washed and purified with sacred waters. Entry to the shrine is now considered auspicious. And agricultural tasks follow, indicating the deeply intertwined relationship between rural occupations, religion and social practices. The core ethos of this festival is perhaps easier to comprehend in the rural landscape of a Dirgheshwari than in an urban setting.

Not as well-known as Kamakhya, the Dirgheshwari Devalaya is an important part of the Shakti worship narrative of this culturally rich region. A fine blend of mythology, Tantric worship, Ahom history and living traditions, it is a place that invites both pilgrims and explorers. Nor is Braghyachal Hill an isolated spot. In its vicinity are other sacred shrines such as the Aswakranta, Kurmajanardan, Manikarneshwar and Rudreshwar devalayas, apart from the vast complex that houses the now-ruined Madan Kamdev. Next time you visit Guwahati, venture north of the Brahmaputra to see undiscovered Assam.

The author is a heritage explorer with a penchant for seeking obscure sites. A brand consultant by profession, he tweets @HiddenHeritage. Views expressed in the above piece are personal and solely those of the author. They do not necessarily reflect Firstpost’s views.