essay on tripura in sanskrit

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Introduction – TRIPURA

Tripura, the ancient home of the Bodos, is the northeastern state of India located by the side of Bangladesh. Politically, now it is a part of the area comprising seven states aptly called `Seven Sisters`, because of many similarities in the social milieu, cultural mosaic and economic landscape. These states besides Tripura are Assam, Manipur, Nagaland ,Meghlaya, Mizoram and Arunachal Pradesh.

The latitudinal and longitudinal extent of the state of Tripura range between 22.56 `degree North to 24.32 degree North and 92.21 degree east respectively. The state has a total geographical area of 4,117 square miles or10,491sq km. Tripura is strategically situated between the river valleys of Myanmar and Bangladesh. Encircled almost on the three sides by Bangladesh, it is linked with Assam and Mizoram in the northeast. 

As per the government statistics 56.52 percent of the total geographical area of the state is forest, which can roughly be divided into four types, viz, Sal, Garjan,Bamboo and miscellaneous species.

The  People :

According to the 2001 census, the total human population of the state of Tripura is 3,191,168. The highlands are areas of sparse population and the lowlands are densly populated.  In Tripura , there are not only people hailing from different regions but also people constituting different ethnic groups. Each ethnic tribe has its own language and distinctive forms of cultural expressions, such as music,dance and festivals. Tripura, for instance, have the  Garia dance , Reangs have the  Howzagiri  and the Chakmas have the  Bijhu dance .

They have their own musical instruments like flute, khamb and lambang which are made of bamboo. The non-tribal populace practise Rabindra Sangeet and dance –  Gajan dance ,  Dhamail  or  JariSari  or  Murshidi-Marfiti .

There are people of all religious groups. Hindus are predominant probably because the ancient rulers were Hindus and their faiths may have affected their subjects. 

Social  and Cultural Heritage:  

Nineteenth century marked the beginning of the modern era in Tripura when king Maharaja Birchandra Kishore Manikya Bahadur modelled his administrative set up on the British India pattern and brought in various reforms. His successors ruled over Tripura till 15thOctober 1949 when it merged with the Indian Union. Initially, a part C state and, it became a centrally administered territory with the re-organisation of states in1956. In 1972, this territory attained the status of a full-fledged state.

Tripura has a long historic past, its unique tribal culture and a fascinating folklore. Some scholars are of the opinion that in the distant past it was known as Kirat Desh. There are references of Tripura in the Mahabharat and the Puranas. Tripura, the descendent of King Druya and Bhabru, contemprary of Yudhishtara, was the ruler on whose name Tripura is named. One more explanation says that the territory is named after the temple of Tripuri Sundari, located at Radhakrishnapur. This deity has always been held in high esteem by the local population. The early history of Tripura is shrouded in mystery. Many myths and legends are associated with it. One version traces its link with the Puranic tradition, to the times of Yajati and Pratit when the 71st Raja Tripura was bonded by a Bodo alliance with Kachar. Another version in the Rajmala (Rajmala is one of the important sources of Tripura history generally datable to the 15th century) states that the ruler of Tripura belongs to lunar race and trace their descent from the Rajput Kshatriyas. Todd, in his Rajputana states that Tripura was one of the 84 mercantile tribes of Rajathan. Probably a synthesis occurred between the culture of the Aryans and Bodos.

However, the well-known historian D.C Sarkar expresses doubts about its authenticity. The medieval history is more definite since the A.D.1279 when we hear about the title  Manikya  being first conferred by Gaur Sultan to Ratan-pa, a disgruntled Tripura chieftain, for helping him to invade Tripura. The title continues till date. It was even conferred to those ruler who were not direct natural descendents, but managed to grab power through fair or foul means. Until the 16th and17th all the external threats were dealt with successfully, helping the state of Tripura to flourish. By the middle of the 17th century the Mughals became the greatest threat to the political stability of the state of Tripura. Gradually, the plains of Tripura came under the Mughal rule and the name was changed from Tripura to Roshanabad. Later as the East India Company gained political power in India, it attacked the plains of Tripura forcing the ruler to become a tributary. The Jajdhar Manikya (A.D 1785-1804) had to pay annual revenue for the plains (Chakla Roshanabad ) to the Company in order to restore his throne. Other members of the royal clan fled to the hills to safeguard their position. Subsequent rulers tried to impress and please the British to re-fix the territory as it was in the ancient times. But it didn’t work out.

Tripura lacks an industrial base save some cottage industries(handicrafts and handloom) and small scale manufacturing units. In the last 10 years the Indian government has encouraged small scale industries especially dealing with weaving, carpentary, pottery and basketmaking. Rice is the main crop. It is well-suited to the marshy conditions of the northern basin. Jute, cotton, tea, and fruit are important cash crops. Sugar cane, mustard and potatoes are also grown. The state imports large quantities of rice,wheat, maize,pulsese,sugar, etc. Exports from the state include plywood pulp, articles manufactured out of bamboo,timber and canned fruit. 

Festival s :

Kharchi Puja (July)-Originally another tribal festival, it now attracts people from all walks of life who come to the Chaturdas Deutas Temple in Old Agartala to worship the fourteen deities of head image. 

Ker Puja -A traditional tribal festival held within a specified boundry specially marked with prior notification in the state government gazetteer. During the Puja period no person is allowed to enter or come out of this specified boundary.

Durga Puja (Oct-Nov) This festival of the mother Goddess Durga in her benign and protective form has possibly come in from Bengal. InTripura too, it is celebrated for four days with great enthusiasm in September-October and the celebrations come to an end when idols of the goddess are taken out in procession and immersed in river.

Tirthamukh -A popular pilgrim centre for the tribal people of Tripura. During the Uttarayan Sankranti(Jan-Feb), thousands of pious people , irrespective of caste,creed or religion assemble and take holy bath. Besides these festivals , Howzagiri,Bijhu,Mansamangal,Sarad,Holi, Diwali, etc are celebrated.

Places   of Interest :

Ujjayanta Palace  – It was built by the Radhakishore Manikya Bahadur in1901 in the heart of the city.

Sepahijala Wild life Sanctuary  – Endangered species like spectacle monkey, or Chasma Badar the state boasts of is only found in this sanctuary. Other attractions are zoo, recreation-ground, botanical garden, etc.

Neer Mahal –  A palace in water, Neer Mahal is 53km away from Agartala looks like a fantasy castle.

Deatamura  – A panel of crude images engraved on the face of hills facing the river Gumati, in Deatamura, a hill range 75km from Agartala.

Jampui Hills  – An orange producing zone, besides the enthralling landscapes, ones eyes and mind will be glued to the lifestyle of aborginals mainly at Lushai with their traditional customs,dance,song and hospitality.

Unakoti  – There is a profusion of the rock cut images, belonging to the 11-12th centuries A.D. This is as such an open-air gallery. It is also a Shaiva Tirtha. Thousands of people from all over the region visit it particulary, on Ashokasthami Mela in March-April.

Matabari ,  Pillak ,  Dumboorlake  ,etc. are other interesting places for sight-seeing.

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Tripurasundari Ashtakam

त्रिपुरसुन्दर्यष्टकम्.

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Tripura Upanishad

The  Tripura Upanishad  (Sanskrit:  त्रिपुरा उपनिषद् , IAST: Tripurā Upaniṣad) is a medieval era minor Upanishad of Hinduism.  Composed in Sanskrit, the text is classified as a Shakta Upanishad and attached to the Rigveda.  It is, as an Upanishad, a part of the corpus of Vedanta literature collection that present the philosophical concepts of Hinduism.

The  Tripura Upanishad  places the goddess Tripura Sundari as the ultimate Shakti (energy, power) of the universe.  She is described as the supreme consciousness, above  Brahma ,  Vishnu  and Shiva.  The text is one of the important texts of the Shakta tradition and notable for its theory of  Tripura  (literally "three cities") symbolizing the three roads of work, worship and wisdom.

Douglas Brooks states the text is historically notable as being "as close to an introduction to Shakta Tantrism as we may find",  distilling into its 16 verses almost every important topic in Shakta Tantra tradition.  The text presents the Srividya yantra as a means of meditation.  The text links the Shakti Tantra tradition as a Vedic attribute,  however this link has been contested by scholars.

The philosophical premises in this text as in many Shakta Upanishads, states June McDaniel, is syncretism of Samkhya and Advaita Vedanta schools of Hindu philosophy, called  Shaktadavaitavada  (literally, the path of nondualistic Shakti).

The author and the date when  Tripura Upanishad  was composed are unknown. The text was likely composed, in the same period as other Shakta Upanishads, between the 12th- and 15th-century CE.  Buhnemann suggests the  Tripura Upanishad  was probably composed after the 15th-century CE.  While this text is a relatively late composition in the Upanishadic collection, literary evidence confirms that Shakta Tantrism has roots in ancient times and the interaction between Vedic and Tantric traditions trace back to at least the sixth century,  and the surge in Tantra tradition developments during the late medieval period, states Geoffrey Samuel, were a means to confront and cope with Islamic invasions and political instability in and after 14th-century CE in parts of India and Tibet.

The text was translated by AG Krishna Warrier in 1967. However, scholarly reviews such as those by Brooks have questioned the translation and its conservative modern interpretation that is inconsistent with how the text was interpreted by 15th- to 18th-century Indian scholars such as Bhaskararaya in their bhasya (review and commentary).

The Upanishad has survived into the modern times in two recensions, one attached to the Rigveda and other to the Atharvaveda.  Manuscripts of this text are also found titled as  Tripuropanisad .  In the Telugu language anthology of 108 Upanishads of the Muktika canon, narrated by Rama to Hanuman, it is listed at number 82.  The  Tripura Upanishad  is complemented by Bhavana Upanishad, and the text accompanies the tantra rituals text  Parasurama Kalpasutra  in Shakta traditions.

The title  Tripura  means "three cities".  It refers to the Tantric idea that everything including the transcendental reality is of triadic form and function, manifesting from one unity.  The triads occur, for example, as "creator, creation, and the process of creativity", "will, action and knowledge", "knower, object of knowledge, and the process of knowing", three Devas , three Shaktis (energies), three  svaras  (musical notes), and others.  These all devolve into and are symbolized as Tripura.  She is epistemologically envisioned, states Brooks, as "the measurer, the measuring and the thing measured"; she has the nature of Shiva, Shakti and Atman (soul, self); she is all creation in latent and manifested forms; and she establishes the non-dualistic identity of the Absolute Brahman with the individual soul (Atman), states Brooks.

The term  Upanishad  means it is knowledge or "hidden doctrine" text that belongs to the corpus of Vedanta literature collection presenting the philosophical concepts of Hinduism and considered the highest purpose of its scripture, the  Vedas .

Some recensions of the manuscripts include a prelude and an epilogue in the form of a prayer asserting that the Vedas must be imbibed in one’s mind, thoughts and speech, and through truth only is peace assured.

The main text consists of 16 verses. This number 16 is significant in the Tantra tradition, and constitutes the sixteen syllabic structure of the  Mula-Mantra , or root manta of its Srividya's school.  The main message is contained in its 15 verses, to which a sixteenth verse is appended, exactly like the way the yantra is designed wherein the sixteenth syllable is appended to its core fifteen elements. Thus the architectural elements of the Upanishad mirror the architecture of the Srividya mantra.

The Srividya presented in the  Tripura Upanishad , has been described by the medieval Tantra scholar Bhaskararaya to one of realizing that "Devi within each human being is a means to know and attain one's own real nature",  that personal liberation and freedom (moksha) is a "process of reintegration",  a journey of knowing one's inner roots and returning to it.  It is a path to become one with Ultimate Reality, the Brahman.  Genuine religious freedom, asserts Bhaskararaya in his commentary on  Tripura Upanishad , is achievable only with autonomy and realization of one's nature.

The text is considered, in Shakta tradition, to be rooted in Rigveda hymns, with Rig hymn 5.47.4 considered as a form of Srividya, the most important mantra in many Shakti traditions.  However, this claim of Rig Vedic roots has been controversial, and is disputed as an esoteric interpretation, by mainstream orthodox traditions of Hindu philosophy, states Brooks.

The text introduces goddess Tripura in verses 1 through 5 as supreme Shakti. The triadic theology permeates the construction of the verses as well as the message. Thus, states Brooks, she is presented as the  Sthularupa  (literally, physical anthropomorphic icon),  Suksmarupa  (subtle sound, mantra icon), and  Pararupa (transcendent diagrammatic, yantra icon).  The  Upasana  (contemplative worship) is similarly presented as the triad of  Bahiryaga  (outer devotion),  Japa  (silent repetition), and  Antaryaga  (inner devotion).  Verses 2 and 3 also states that goddess Tripura is symbolized in nine ways, nine yogas, nine gods, nine healing deities, nine communicative forms representing all the three energies, and controlling the numerals, nine nineteen, twenty-nine, and ever radiant.  Her worship through various methods of meditation is asserted by the text to lead to liberation.

The verse 6 of the Upanishad succinctly presents her relationship with Shiva, and introduces the names of fifteen goddesses, each an aspect of her as the sixteenth.  The verses 8 and 9 of the text, states Brooks, present the syllables of its mantras in a technical, encoded vocabulary, whose details and meaning in the Tantra tradition is passed verbally from one generation to another, through a Guru.  The text presents the encrypted code, but unlike other Upanishads in the Hindu tradition, does not explain or provide an outline of the code's esoteric meanings.  These mantras of the  Tripura Upanishad  are also referred to as  Kadi vidya  and  Hadi vidya .

The verses 10 through 12 state the  upasana  rituals and Srichakra worship, in verbal and diagrammatic images of Tripura, Shiva and self.  The verse 13 is dedicated to meditation practice.  Verses 14–15 assert ontological oneness between Shakti, Shiva and Atman,  with the statement that through "knowledge that the self becomes one with Cosmic being".

Click on the links below for this Upanishad:

Tripura upanishad (sanskrit): brahma yogin, tripura upanishad (english): krishna warrier.

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CULTURE OF TRIPURA: HISTORY | TRADITION & LIFESTYLE

3 years ago

The State of Tripura is nestled in the North-Eastern region of the country of India. It is an unspoiled natural gem that the country of India beholds. The exotic wildlife and natural beauty cannot be celebrated in any metaphorical words of English. The real beauty of the State of Tripura can be perceived only when you head forward and experience it by yourself. The undeniably serene climate, with warm welcoming Tripurans, is a mesmerizing travel destination. The unique culture, tradition, and lifestyle of the State of Tripura is unknown to many.

So let’s head forward to understand the culture, tradition, and lifestyle of the State of Tripura in detail, without wasting any minute.

CULTURE OF TRIPURA

Unwinding the culture of the State of Tripura should undoubtedly begin from the natives of this state itself. The Tripura are really friendly to interact with. The warm and helping nature of Tripurans are well known to the frequent travellers who have visited this beautiful travel destination. Tripura leaves no stones unturned for assisting any tourists or visitors or travellers in need of help. The Manikya Dynasty ruled the Tripura province for nearly 2000 years until the Tripura kingdom joined the Indian Union on 15th October 1949.

The major portion of the Tripura population consists of the Bengali community (70%) and the remaining Tribal community (30%). Kokborok is the language spoken by the largest tribal community. Kokborok consists of standard dialects of Koloi, Tripura, Noatia, Rupini, Debbarma, Uchoi, Jamatia, and Murase. People follow varied religious methods like Christianity, Hinduism, Animism, and so on. Yet the major portion of the State of Tripura follows the religion of Hindu.

Their distinctive culture is reflected in their festivals, dance, management of community affairs, music, dress, and food habits that have another level of a strong base.

Due to the main population of Bengalis, their culture is followed by the non – tribal parts of the State of Tripura. Kings who ruled the province of Tripura were extreme patrons of Bengali culture. They adored Bengali literature a lot as well. The Bengali language is said to be the language of the court as well. Rabindranath Tagore is also considered to have a notable bond with the Kings back then. And thus Bengali cuisine, literature, and music became predominant especially in the urban areas of the State.

HANDICRAFTS OF TRIPURA

Handicrafts in the State of Tripura like cane handicrafts, bamboo crafts are famous. These things are used to create hand fans, furniture, mats, utensils, replicas, idols, baskets, and numerous other interior decoration materials. The small items are popular while buying souvenirs.

DANCE AND MUSIC OF TRIPURA

Dance and music is an integral part of the Tripura. The most used musical instruments are as follows: Samui, Sarina, and Chong Peng. Folk songs are sung on every religious occasion, wedding ceremonies and festivals.

The State of Tripura is famous for its architectural monuments, stone carvings, and rock sculptures. The best can be explored at Unakoti, Devtamura, and Pilak. They signal the evidence of Brahmanical orders and Buddhism.

Popular sports in the State of Tripura are cricket and football. One can enthusiastically witness the football championship held annually in the capital city of the State of Tripura, that is, Agartala. The State of Tripura has some prominent sportsmen and sportswomen who are successfully playing for swimming and gymnastics on a National level. The famous gymnast Dipa Karmakar is one of them. Some of the traditional games played in the State of Tripura are dwkhwi, sotonmung, thawnghmung and achugwi phan sohlaimung.

TRADITION OF TRIPURA

The people who follow the religion of Hinduism believe in the Goddess Tripureshwari. Other several gods like bursha sa, khulu ma, lampra and mailu ma are worshipped too. Major traditional festivals of the tribes of the State of Tripura are the Bizu festival, Garia Puja, Kharchi Puja, Ker Puja, Ashokastami, Tirtha Mukh festival, Lampra Puja, Ganga Puja, and so on. The popularly celebrated festivals or events of the State of Tripura are as follows :

1. GARIA PUJA

Garia Puja is held during the month of Baisakh for usually 7 days. During this festival, the bamboo pole is worshipped as a symbol to the God Garia.

2. PILAK FESTIVAL

The Pilak Festival is an Archaeological and Tourism Festival annually celebrated in the months of February or March for approximately 3 days. There are several sculptures of Buddhism and Hinduism. People who are crazy about such archaeological sculptures must definitely visit Tripura during this festival.

3. NEERMAHAL WATER FESTIVAL

Neermahal Water Festival is celebrated for 3 days. Neermahal Water Festival is celebrated in the month of August. During this festival, the boat race is also held in the Rudrasagar lake. There are numerous other cultural programs held during this festival as well.

4. TIRTHAMUKH MELA

Tirthamukh Mela or Poush Sankranti Fair is usually held in the month of January. You will find a huge crowd in the River Gomati to take a holy dip in the river during this fair. This fair is organised for two days.

LIFESTYLE OF TRIPURA

The major food items cooked in the usual domestic non-tribal kitchens are pork, fish, chicken, rice, and mutton. The non-tribal community of the State of Tripura cook varied spicy curries of fishes. One of the popular methods of preparing the fish is out of boiled Hilda punched with a few mustard seeds and green chilies. The food items are also prepared through bamboo shots such as Muya Bai Wahan and Muya Awandru. Other famous dishes of the State of Tripura include Wahan, Kosoi bwtwi, and Gudok. The traditional dish known as ‘Chuck’, consisting of rice and beer is prepared during significant festivals and occasions.

Also Read : Famous Dishes of Tripura

The traditional weavers of designer clothes are from the Khakloo tribes. Traditional attire of Tripurans is rarely worn today. The traditional male attire includes Rikutu for the loin part of the body and Kamchwlwi Bodol for the upper part. While women cover themselves with a large cloth reaching the knees and covering the waist called Khakloo. Shorter clothes with magnificent embroidery are called the Risa Isca. Females use a plethora of beads and also wear different coin strands.

Yet people of the State of Tripura have already drifted away from the traditional costumes, people residing in the rural areas of the State do wear such attire.

The difference of culture of the State of Tripura can be understood through this article. The beautiful and naturally rich state should definitely be visited once in your lifetime. To experience the best of the State of Tripura make sure you plan your dates during the traditional festivals of the State of Tripura. Also don’t forget to try their unique cuisines as well.

Chanchal Vinod

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Tripura Rahasya - Gyana Khanda (Sanskrit - Hindi)

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The Department of Sanskrit is one of the new departments with which the Centre for Post Graduate Studies in Tripura under the University of Calcutta (C.U.P.G. centre) started functioning in 1977. Cultivation of traditional Sanskrit learning in the princely state of Tripura was in full swing from early times under the royal patronage. With the advent of modern education, Sanskrit has been taught at the undergraduate level in the colleges. The department started teaching Sanskrit in Post Graduate level since 1977 under the guidance of Prof. Biswapati Roy. Gradually Professor Sitanath Dey, then Prof. K. P. Sinha headed the department in able hand. With the establishment of full-fledged Tripura University on 2nd October, 1987, Prof. Jyotish Nath & Prof. Shila Purkayastha and at a subsequent period Dr. Sipra Ray and lastly Dr. Chandan Kr. Chakraborty joined in the department. Many Guest Lecturers also served the department for a long time. The department with an intake of 60 students offers P.G. Course in Sanskrit having the Veda, K?vya and Dar?ana as special papers. Many renowned scholars have visited the department and many of them gave academic lectures. Prof. Ramaranjan Mukherjee, Prof. Dhyanesh Narayan Chakraborty, Prof. Asoke Chatterjee, Prof. Karunasindhu Das, Prof. Nabanarayan Bandyopadhyay, Prof. G.S. Tripathi, Prof. Dipti S. Tripathi are few of them.

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The Day Ram Dass Died

By Christopher Fiorello

I woke up every thirty minutes the night before Ram Dass died. Stretching my perception through the big divider that separated his study—where I lay on a narrow couch—from his bedroom, I’d count the seconds between the short, ragged breaths churning through his sleep-apnea machine.

Four years later, I still have no idea why I was chosen to watch over him that night. I was at the bottom of the caregiver pecking order when it came to things directly related to Ram Dass’s body. I lacked the size and strength to transfer him from bed to wheelchair, or wheelchair to recliner, on my own; was too much of a novice to help organize his schedule or coördinate with his doctors; and was too unfamiliar to offer intellectual comfort in the rare moments that he wanted to talk. I’d met him ten months earlier, had his voice in my head for just three years. There were people in the house, on Maui, who had known him for more than three decades.

Before arriving, I had no formal medical training, but I had done three weeks of volunteering at a hospice facility in anticipation of coming to the island. Most of it involved moving Kleenex and changing the amount of light in empty rooms. Several times I sat with the dying. It was overwhelming to look at their closed eyes, feeling the heaviness in the room, the sense of something happening or about to happen. I scanned their faces for signs of pain, of fear or bliss, of transcendence. Through the palliative haze of opioids, they were impossible to read. No one was thrashing in pain; no one was smiling, either.

But it somehow buoyed me, being so close to death. The heaviness seemed critically important to my spiritual growth. I imagined myself giving peace to the dying through my presence, and in the process conquering my own fear of leaving life behind.

During my time with Ram Dass, I flitted constantly between self-righteousness and self-pity, one day indulging in grandiose fantasies that I was the heir to his legacy, charged with scattering his ashes, and the next imagining that everyone in the house hated me. The caregivers called it the classroom or the fire—a site of purifying work, a pathway to enlightenment.

My own work, purifying or otherwise, consisted mostly of handling various chores needed to keep a six-bedroom cliffside home with a pool, guesthouse, and two-acre yard going. For the bits that mattered—the scrubbing and the laundry and the cooking—there was a team of cleaners and a rotating cast of chefs. I ended up doing a lot of the rest: separating recycling, washing dishes, and replacing cat-scratched screens. There were three other caregivers in the house, and I was given a modest salary, plus my own room, meals, and shared access to a truck. I was an employee, but most days the house felt like a family, for better or worse.

Still, this was only the second time I’d been asked to spend the night in the study. It was generally perceived as an act of intense devotion: accepting a horrible night’s sleep, on a couch that reeked of cat pee, while facing the prospect of Ram Dass dying on your watch. I hated it, but I was there to care for the guy however it was decided that he needed care.

Most of the deciding was done by a woman affectionately dubbed Dassi Ma, a seventysomething lapsed-Catholic firecracker from Philadelphia. Dassi Ma was Ram Dass’s primary caretaker, and, though she no longer did the more strenuous physical tasks, she was still in command of what he got and when, often more so than Ram Dass himself. He was eighty-eight, and his health had been steadily deteriorating owing to a host of issues, including chronic infections. When I moved to Maui to be near him, in February, 2019, he had almost died the night I arrived. He bounced back, to everyone’s surprise but his own. “It wasn’t time,” I remember him saying in his stoic way, neither relieved nor disappointed. Now he had another spreading infection, and what appeared to be a cracked rib from being transferred to and from his wheelchair.

Ram Dass’s life is the subject of multiple documentaries, an autobiography, and a docuseries in development starring “ High Maintenance ” ’s Ben Sinclair. He was born Richard Alpert in 1931 to a wealthy Boston family. His pedigree was sterling: a Stanford psychology Ph.D., tenure track at Harvard, visiting professorship at Berkeley. In 1963, after five years at Harvard—much of it spent studying psychedelics with his fellow-psychologist Timothy Leary —he was fired for giving psilocybin mushrooms to an undergraduate.

He bopped around for a few years, often taking obscene amounts of mind-altering substances with Leary at the Hudson Valley estate of his friend Peggy Hitchcock. In 1967, like so many other Westerners of the time, he travelled to India in pursuit of exotic answers to life’s biggest questions. He’d grown disenchanted with the psychedelic world, which had come to seem rotely defined by highs and comedowns. In India, he met a Californian hippie named Kermit Riggs and followed him to a village called Kainchi, in the Himalayan foothills, to meet Riggs’s guru.

The guru was an old, squat man named Neem Karoli Baba. Before long, an enthralled Alpert was reborn as Ram Dass, or roughly “servant of God.” He returned to America later that year, arriving at the airport dressed in white robes and with a long, scraggly beard, and began his career as a spiritual teacher. Most of what he talked about, from 1967 to his death, were the experiences he had with Neem Karoli Baba, whom he called Maharaj-ji (“great king”), and the spiritual beliefs that emerged from those experiences.

One of his main ports of call became death and dying. In 1981, he co-founded the Dying Center, in Santa Fe, an organization that described itself as “the first place specifically created to support and guide its residents to a conscious death.” The center sought, in effect, dying people who wanted to use their death to become spiritually enlightened, and staff members who wanted to use other people’s deaths to achieve the same. Even before the Dying Center took shape, Ram Dass was lecturing on the spirituality of death, its place in the natural order, and the starkly contrasting way that he believed it was perceived in the East. His teachings were rooted in a specific vision of metaphysical reality, as informed by his guru and by the Bhagavad Gita, a sacred Hindu text. Roughly, he believed in nondualism, that there existed an unchanging and absolute entity—the Hindu Brahman, which Ram Dass more frequently called God, the divine, or oneness—from which all material reality came. Included in that reality were souls (something like the Hindu atman ), which by their nature were caught in the illusion of their separateness from God, repeating a cycle of birth, suffering, death, and reincarnation until they remembered their true nature as part of the oneness—that is, until they became enlightened.

Death could be a crucial moment for remembering this nonduality, as it was when the “veil of separateness” was thinnest. In his 1971 book, “ Be Here Now ,” which has sold more than two million copies worldwide, Ram Dass summarizes his views: “You are eternal . . . There is no fear of death because / there is no death / it’s just a transformation / an illusion.”

He often spoke to crowds afraid of dying, repeating that he had “no fear of death.” He sat with people on their deathbeds and talked routinely about the power of “leaving the body,” his efforts to “quiet himself” so that the dying could see where they were in the reincarnation process and do what they could to escape it. His stories were sometimes graphic—people dying prematurely, or dying in tremendous pain—but always tinged with a lightness and humor.

Perhaps Ram Dass’s most memorable remarks about death came not from his own mind but from a woman named Pat Rodegast, who claimed she had channelled a spirit named Emmanuel from 1969 to her death, in 2012. Rodegast was working as a secretary, raising children, and practicing Transcendental Meditation when she began to see a light, which evolved into what she called telepathic auditory guidance. Some of that guidance was captured in three books published in the eighties and nineties, two of which came with forewords from Ram Dass. According to Ram Dass, when he asked Emmanuel what to tell people about death, Emmanuel replied that it was “absolutely safe,” “like taking off a tight shoe.”

I first encountered the voice of Ram Dass in 2016. I was twenty-seven and living in New York, in a Chinatown building that rattled every time an empty box truck drove down First Avenue. Each morning, I tumbled down five flights of sticky stairs and placed one of his talks deep into my ears, letting his distinct blend of scientific erudition and spiritual mysticism carry me across town.

He had a habit of segueing from psychological concepts, like attachment theory and childhood trauma, to cryptic ones, like Emmanuel’s messages and the astral plane, pausing briefly to ask listeners if they could really, truly “hear this.” He seemed to build on the insights of others who had revolutionized end-of-life care in America—thinkers such as the psychiatrist Elisabeth Kübler-Ross —but also spoke in the New Age argot of Alan Watts. I gobbled it all up, feeling my spiritual life deepen exponentially by the day. His lectures made me more prosocial, more anti-capitalist, more curious, and decidedly more self-loving.

This was my second rodeo with spirituality; growing up, a rigid strain of Protestantism had been foisted on me like a chore. In Kansas City, Missouri, I was enveloped by an atmosphere of creationism, tent revivals, and anti-abortion screeds. I still recall standing on a busy street as a six-year-old and holding a sign that read “Before I Formed You in the Womb I Knew You—God.”

The teachings of Ram Dass were nothing like that. They were straight out of the hippie movement, and seemed to license a more liberal, self-directed search for meaning. As the grind and filth of Manhattan wore me down, Ram Dass’s voice became a salve, a way to “wake up to the illusion of our separateness.” I turned to his work again and again—to ease my loneliness when, walking down the street, droves of people moved around me like I was a light post, or to arrogantly tell my ex-girlfriend that we would always be “together,” even though I’d already dumped her.

After a couple of years, I learned that I could actually meet Ram Dass, for free, by signing up for one of his “Heart-to-Hearts”—a one-on-one, hour-long Skype call he offered as a sort of public service. When my time came, and the man appeared onscreen, I was stunned into silence. I had thought of him as a spry, ethereal figure who existed only in decades-old recordings. This Ram Dass was very old and lived with fairly advanced aphasia, a side effect of a major stroke he’d had in 1997. His speech was slow—in our full hour, he said roughly sixty words—but not at all ponderous. I thought it gave him a mystical quality.

There was no format to the session; Ram Dass just smiled his winning smile and listened. At one point, after I’d nervously overshared, he told me, “You take yourself pretty seriously.” That struck me as profound, at least at the time, but what endured was more feeling than words. It seemed he had arrived at a place from which he could find genuine love for strangers like me. It didn’t strike me as brand positioning, or as a form of ego; I didn’t think he loved me in the sense that he wanted to be close, or even that he cared whether we got to know each other. I just believed he saw me as another soul, and that, in his view, made me worthy of kindness.

By then, I was walking around New York, trying desperately to feel connected to anything. I wanted what Ram Dass had. So I left the city, intending, among other things, to get him to show me how to have it.

The friend I’d discovered Ram Dass with had already moved to Neem Karoli Baba’s temple, in Taos, New Mexico. I visited him for a fortnight of cooking group meals, wandering through the snowy high desert, and hobnobbing with Maharaj-ji zealots, including one white teen-ager who insisted that he was the reincarnation of Krishna, one of Hinduism’s most revered avatars. Like the young Krishna of lore, he would steal away to the temple pantry to eat pure butter until caught.

Some of this evoked my childhood church, where kids compared how quickly they could transition into speaking in tongues, or flexed the depth of their personal relationship with Jesus while leading a collective prayer. But this was my first encounter with Neem Karoli Baba devotees; I figured followers would be a bit more mellow the farther I got from his temple. Toward the end of my stay, I met a longtime friend of Ram Dass. He saw that I was eager to do volunteer work—known as seva , Sanskrit for “service”—so, when he learned of my intent to find Ram Dass on Maui, he offered to put in a good word to Dassi Ma.

That recommendation made the seemingly impossible possible. People of all ages came to the island to be near Ram Dass. Some found their way into the group texts for arranging kirtan —living-room chanting sessions at Ram Dass’s house—or beach excursions. A few found opportunities to be useful around the house, or made friends with one of the live-in caregivers, enabling them to drop by every week or so. But to be offered to help care for Ram Dass, for pay, as a virtual nobody, was exceptionally rare.

Upon arriving at the house, I found it shot through with the same quasi-religious fervor I had seen at the temple. I was quickly intercepted by another caregiver and taken to a lean-to, in a nearby pasture, so that I could silently meditate with prayer beads. It was incredibly humid, and I got annihilated by mosquitoes. I returned to the house to find a living room packed with people chanting—mostly the Hanuman Chalisa, a devotional hymn that features verses like “With the lustre of your vast sway, you are propitiated all over the universe.” A collective effervescence filled the room, and I joined along, staring at hundreds of statuettes of religious figures while fighting back the sense that I was in church.

After more than an hour of chanting, we milled about, greeting one another over chai and snacks. Attendees swapped stories of Maharaj-ji’s miracles, told me that my presence must be part of his plan, sat smiling at Ram Dass’s feet, their hands over their hearts. During my year on Maui, Ram Dass’s foundation led retreats at a local resort, where hundreds of people would gather for spiritual talks and chanting. Inevitably, someone at these events would look at me with confusion or pity when I told them my name was Christopher. “He hasn’t given you a name yet?” the person would ask. Ram Dass often bestowed a Hindu name on people: Lakshman, Govinda, Hari, Devi. I was fine with Christopher.

But there were other moments, informal and fleeting, when I witnessed the mixture of play and profundity that first drew me to Ram Dass. One autumn morning, two other caregivers and I were helping him get through his daily routine—brushing teeth and hair, putting on clothes and hearing aids, making the bed—when I turned on Doja Cat’s “Go to Town,” a song I later learned was about cunnilingus. I cranked the volume, and the four of us started dancing with illicit glee. One caregiver jumped on the bed, another swung from the divider between the bedroom and the study, and Ram Dass waved his one mobile hand with bright eyes and a rascally smile.

Another day, I was alone with Ram Dass, helping him pick out a shirt. Though I spent nearly all my time in the house, I could count the hours we had been alone together on two hands, and most of them had involved food and drink, or foot massages, ostensibly to relieve the pain that he felt from diabetic neuropathy. On this day, the house was recovering from Ram Dass having been denied psilocybin owing to his health. I felt sorrow for him; the drug was, after all, the beginning of his spiritual journey more than five decades prior. I asked him if the house ever felt like a prison. A full minute of silence passed, with me standing over him in his walk-in closet. Eventually, he tapped his temple and said, “This is the prison.”

When morning broke on December 22, 2019, and Ram Dass was still alive, I allowed myself a moment of relief. Dassi Ma came up, looking short on sleep, and took his vitals. They were horrible. We snapped into action, trying to comfort Ram Dass until one of his doctors arrived.

The infection had pooled fluid in his lungs, which made every breath a burden. Wet, rattling half-breaths were punctuated by coughs of bloody mucus. He looked wrecked, but still managed a weak smile when his Chinese-medicine doctor told a joke at his bedside.

At some point, Dassi Ma and the doctor began talking in the study; other caregivers were on an oxygen-tank-and-essentials supply run. I was on one side of Ram Dass’s bed; on the other was his longtime co-author Rameshwar Das, a friend since Kainchi. Then Ram Dass started choking.

It wasn’t that different from any of the other horrible breaths he’d taken that morning, except that he just couldn’t breathe it. When he realized this, he turned to me with a look that haunts me even now: light eyes wide as quarters, mouth open, lips a bit rounded. I immediately panicked, calling for Dassi Ma and trying to get his adjustable bed as upright as possible so that he could clear his throat. Then, when that didn’t seem upright enough, I frantically tried to lug his torso up so that his head could hang over his waist; perhaps he could vomit his throat clear.

Thirty seconds had passed since he first lost his breath. Somewhere from near his feet, the doctor snapped at me: “You have to calm down!” It jolted me into an awareness that Ram Dass was dying, right there. Perhaps it did the same for Dassi Ma, because she sprang for the study, returned with a large framed photo of Neem Karoli Baba, and commanded him to focus. “Ram Dass! Maharaj-ji! Maharaj-ji!” she said, placing the photo at the foot of the bed. She told him that she loved him, that he could go. I told him that I loved him. And then Ram Dass stopped trying to breathe.

I was the only person to leave the room. Stumbling into the study, I picked up my phone, hands quivering, and sent word to the other caregivers: “RD’s dying imminently. Like within the next couple of minutes.”

The wind was screaming outside. On Maui’s North Shore, it wasn’t unusual for it to reach thirty, forty knots, rattling the windows and throwing palm fronds across the lawn. That day, it had blown from early in the morning, under a tightly woven blanket of gray clouds. Sitting in the study, I watched it bend the trees, felt the violence of it, indiscriminate.

Ram Dass believed that fear kept us from recognizing our interconnection to all things. “Change generates fear; fear generates contraction; contraction generates prejudice, bigotry, and ultimately violence,” he said. In his teachings, he often placed fear and love on opposing sides of the human experience. Fear was the by-product of the ego; love was the by-product of the soul that remained pure, in the moment, especially at the time of death. “When we are fully present,” Ram Dass wrote, “there is no anticipatory fear or anxiety because we are just here and now, not in the future.”

And yet this binary is precisely what made watching him die so disorienting. I’ve no idea what Ram Dass felt in those final moments, what he could see or hear. I don’t even really know if that was fear I saw in his eyes, though it certainly looked like it. Perhaps it was surprise or another sensation entirely, the rush of emptiness before a huge plunge into something tremendous.

Whatever it was, its existence seemed largely absent from his teachings. There were times when he acknowledged the pain and coarse brutality of death. In his book “ Still Here ” (2000), he writes:

Dying is often not easy . . . the stoppage of circulation and starving of the heart muscle . . . the inadequate transport of oxygen to tissues, the failure of organs . . . Where can we hope to stand in our own consciousness during such traumatic conditions, in order to die with clarity and grace?

Yet the emphasis he placed, over decades of lectures, on the importance of grace during death made so little space for terror—for how fear could coexist with presence, and even with love. In the minutes after his passing, the chasm between how he died and how I thought he was supposed to die reminded me of the betrayal I’d felt when, at sixteen, I flouted my mother’s and pastor’s admonitions and stopped asking God for protection, only to discover that a similar slew of terrible and wonderful things still happened to me.

In the house, too, marching through three days of death rituals before Ram Dass’s body was removed, I felt my spirituality slip its moorings. Late on the second night, his body lay on ice in his study—a rite he’d specifically requested, hoping that it would help those around him transcend their fear. I sat on the floor and peered up at his face through candlelight, his skin whitish blue and gaunt, his mouth slightly agape. I waited for grace, for him to speak reassuringly from some other plane of reality. Instead, I was taken back to our final moments together, where fear sutured me to each passing second. Not fear of the past or some uncertain future, but fear of the vast, strange intensity of what is. ♦

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Essay on Tripura: Exploring the Enchanting Beauty of Tripura

In this essay on Tripura, we will explore the various facets of this beautiful state, including its history, geography, culture, attractions, food, and more.

Essay on Tripura in English

Tripura is primarily a hilly state, with a few plains and valleys scattered throughout. It is bounded on the north, west, and south by Bangladesh, and on the east by Assam and Mizoram. The state is divided into eight districts, each with its distinct character and attractions.

The history of Tripura can be traced back to the 14th century when it was ruled by the Manikya dynasty. The kingdom of Tripura was one of the most prosperous and powerful in the region, with trade and commerce being the primary sources of wealth. Over the centuries, the state came under the influence of various empires and kingdoms, including the Mughals, the British, and the Bengali kings.

Culture and Traditions of Tripura

Tripura is known for its vibrant and diverse cultural heritage, which is a blend of tribal and non-tribal influences. The state is home to over 19 indigenous tribes, each with their unique customs, beliefs, and practices. The Tripuri people, who are the largest ethnic group in the state, have their language, which is also called Tripuri.

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The state is famous for its colorful festivals and fairs, which are a celebration of its rich cultural heritage. Some of the popular festivals in Tripura include Durga Puja, Diwali, Pous Sankranti, Garia Puja, and Kharchi Puja.

Attractions in Tripura

Tripura is a paradise for nature lovers, history enthusiasts, and adventure seekers. The state is home to some of the most picturesque landscapes, ancient temples, wildlife sanctuaries, and waterfalls.

Here are some of the must-visit attractions in Tripura:

• Ujjayanta Palace - a magnificent palace built in the early 20th century, which is now a museum showcasing the state's history and culture.
• Neermahal - a stunning water palace built in the middle of Rudrasagar Lake.
• Unakoti - a rock-cut shrine with over 10,000 sculptures of Hindu deities.
• Jampui Hills - a popular trekking destination, known for its breathtaking views of the valleys and hills.
• Sepahijala Wildlife Sanctuary - a sanctuary that is home to various species of flora and fauna, including primates, reptiles, and birds.

Food and Cuisine of Tripura

Tripura's cuisine is a reflection of its cultural diversity, with influences from Bengali, tribal, and Assamese cuisine. The state is famous for its bamboo shoots, which are used in various dishes, including curries, pickles, and chutneys.

Some of the popular dishes in Tripura include:

• Chakhwi - a chicken or fish stew made with bamboo shoots and a blend of spices, served with rice.
• Mosdeng Serma - a dry fish chutney made with onions, tomatoes, and green chilies.
• Mui Borok - a traditional Tripuri platter that consists of rice, meat or fish curry, boiled vegetables, and bamboo shoot pickle.
• Wahan Mosdeng - a pork dish cooked with local herbs and spices.
• Chakhoi - a dessert made with rice flour, jaggery, and coconut milk, wrapped in banana leaves and steamed.

Short Essay on Tripura in English

Tripura is a small state located in the northeastern region of India. The state shares its borders with Bangladesh, Assam, and Mizoram. It is known for its natural beauty, cultural diversity, and rich history. The capital city of Tripura is Agartala.

The state has a population of around 4 million people, with the majority of the population belonging to the Tripuri community. The state is also home to various other communities like Bengalis, Manipuris, and Reangs. The official language of the state is Kokborok, which is spoken by the Tripuri community. However, Bengali and English are also widely spoken and understood.

Tripura has a diverse landscape, ranging from the hills in the north to the plains in the south. The state is famous for its lush green forests, waterfalls, and wildlife sanctuaries. Some of the popular tourist attractions in Tripura are the Neermahal Palace, Tripurasundari Temple, Unakoti Hill, and Sepahijala Wildlife Sanctuary.

The state is also known for its rich culture and traditions. The people of Tripura celebrate various festivals throughout the year, including Durga Puja, Diwali, and Bihu. The state is also known for its traditional dance forms, like the Garia and Hojagiri dance.

In terms of economy, agriculture is the mainstay of Tripura's economy, with a focus on the cultivation of crops like paddy, jute, and tea. The state is also known for its handloom and handicraft products.

Overall, Tripura is a small but beautiful state with a rich history, diverse culture, and natural beauty. It is a great destination for travelers looking to explore the northeastern region of India.

10 Lines Essay on Tripura in English

• Tripura is a small state located in northeastern India, bordered by Bangladesh on three sides.
• It is known for its natural beauty, with lush green forests, hills, and valleys dotting its landscape.
• The state is home to various indigenous tribes, and their unique culture and traditions make Tripura a melting pot of diversity.
• The capital city of Tripura is Agartala, which is also the largest city in the state.
• Tripura has a rich history, with evidence of human habitation in the region dating back to the 14th century.
• The state has a predominantly agrarian economy, with agriculture and allied activities being the primary sources of livelihood for the people.
• Tripura is famous for its bamboo handicrafts, which are exported to different parts of the country and even abroad.
• The state is well-connected by road, rail, and air, with Agartala having an international airport.
• Some of the popular tourist attractions in Tripura include the Ujjayanta Palace, Neermahal Palace, and the Jampui Hills.
• Overall, Tripura is a beautiful state that is steeped in history and culture, and is definitely worth a visit.

FAQs about Tripura:

What is the best time to visit tripura.

The best time to visit Tripura is between October and March, when the weather is pleasant, and the monsoons have receded.

What is the main language spoken in Tripura?

The main language spoken in Tripura is Bengali, followed by Kokborok and English.

Is Tripura safe for tourists?

Yes, Tripura is generally safe for tourists, but it is advisable to take precautions and be aware of your surroundings, especially if traveling alone.

What are some popular souvenirs to buy in Tripura?

Some popular souvenirs to buy in Tripura include bamboo handicrafts, traditional textiles, and tea.

Tripura is a hidden gem in India's northeastern region, offering a unique blend of natural beauty, cultural heritage, and warm hospitality. From its picturesque landscapes to its ancient temples and vibrant festivals, Tripura has something to offer to every kind of traveler.

This essay on Tripura has covered various aspects of the state, including its history, culture, attractions, food, and more. So, if you're planning a trip to India's northeastern region, don't miss out on the mystical land of Tripura.

We hope that you enjoyed reading essay on tripura. If you have any queries or issues, please feel free to connect with us on our  Facebook page . We are always happy to help and would love to hear your feedback. Thank you for taking the time to read our essay, and we look forward to hearing from you soon.

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Essay on Tripura in English

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Essay on Tripura in English for All Students

Tripura's history is a fascinating blend of mythology and historical accounts. According to legends, the state derives its name from the Sanskrit words "tri" (three) and "pura" (city), signifying the three ancient cities of Tripura: Udaipur, Rangamati, and Kailasahar. It was ruled by various dynasties, including the Manikya dynasty, which played a pivotal role in shaping the state's culture and governance.

The Cultural Melting Pot

A kaleidoscope of tribes.

Tripura is a mosaic of diverse tribes and communities. The indigenous tribes like the Tripuris, Reangs, and Jamatias have preserved their unique customs, languages, and traditional attire. Visitors are often spellbound by the vibrant tribal festivals, where dance, music, and rituals take center stage.

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The Legacy of Royalty

The Manikya dynasty's influence is still evident in Tripura's culture. The majestic Ujjayanta Palace in Agartala stands as a testament to the architectural grandeur of the past. It has been transformed into a museum, offering a glimpse into the opulent lifestyle of the erstwhile royals.

Natural Wonders of Tripura

Lush green landscapes.

Tripura's natural beauty is unparalleled. The state is blessed with dense forests, rolling hills, and meandering rivers. The cloud-kissed peaks of Jampui Hills provide an awe-inspiring view of the sunrise and sunset. The Dumboor Lake, flanked by lush greenery, is a serene retreat for nature enthusiasts.

Biodiversity Hotspot

For wildlife enthusiasts, Tripura is a treasure trove. The Sepahijala Wildlife Sanctuary is home to a diverse range of flora and fauna, including rare species like clouded leopards and hoolock gibbons. Birdwatchers are in for a treat with over 150 species of birds gracing the state.

The Cuisine of Tripura

Spices and flavors.

Tripura's cuisine tantalizes the taste buds with its unique blend of spices and flavors. Bamboo shoots, fish, and pork are staple ingredients in their dishes. Must-try delicacies include "Mui Borok" (fermented bamboo shoot) and "Mui Borok Mosdeng" (spicy chutney).

Tripura's Transition to Modernity

Economic progress.

In recent years, Tripura has witnessed significant economic growth. The state's capital, Agartala, boasts modern infrastructure and educational institutions. The budding IT sector and improved connectivity have contributed to its development.

Challenges and Aspirations

However, Tripura faces challenges like unemployment and infrastructure gaps. The government is actively working towards addressing these issues and promoting tourism to boost the state's economy.

Tripura is an enigma waiting to be explored. From its mythical origins to its cultural vibrancy and natural splendor, this northeastern gem has much to offer. As it continues to transition into modernity, preserving its rich heritage remains of paramount importance.

What is the best time to visit Tripura?

The best time to visit Tripura is during the winter months, from October to March when the weather is pleasant.

Are there any adventure activities in Tripura?

Yes, you can indulge in trekking in Jampui Hills and boating in Dumboor Lake for adventure enthusiasts.

Is Tripura safe for tourists?

Tripura is generally considered safe for tourists. However, it's advisable to follow standard safety precautions.

Can I experience tribal culture in Tripura?

Absolutely! You can visit tribal villages and participate in their festivals to experience their rich culture.

What are the must-buy souvenirs from Tripura?

Handwoven textiles, bamboo handicrafts, and traditional tribal jewelry make excellent souvenirs to take home from Tripura.

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SCERT Tripura

State Council of Educational Research & Training (SCERT), Tripura was established in Tripura in 1996 by merging together four organisations namely State Institute of Education(SIE) , Guidance and Counsellor Office, Publication Unit and Tribal Language Cell . Since then it has been functioning as a State Level apex Resource Institute of the state to provide support and guidance to the School Education Department in improving quality of education at elementary stage. Four DIETs are functioning under the administrative control of SCERT. SCERT is currently functioning not as an autonomous body registered under Society Act-1960 but as an institution under the Department of School Education. SCERT has been declared as the Academic Authority for the School Education Department. It has also been declared as the Apex Body for training of in-service teachers of all stages under the mandate of Samagra Shiksha Abhiyan. The primary objective of SCERT , Tripura is to help through suitable programmes of research, training and extension.

It’s objectives are :

•To enhance quality of education by conducting various types of educational research. •To improve teacher education •To enhance quality of educational institutions •To upgrade educational methodology •To offer publicity to educational innovations.

Its functions are as under:

•To improve school - education, continuing education, non-formal education and special education. •To review and revise the curriculum of school education Department as and when required. •To impart in service - training to Teacher Educators , Educational Administrators and Head Masters for their professional development. •To impart in service - training to the teachers from pre-primary to higher secondary schools. •To make available extension - services to teacher - education -institutions and co-ordinate the same. •To prepare teaching aids for educational institutions. •To motivate teachers to undertake /investigative research regarding content cum methodology. •Use of technology in teaching learning process.

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The Open Educational Repository(OER) portal of Tripura has been designed to create, curate and share digital resources in school education and teacher education. The portal shall enable stake holders to freely access and use quality digital contents i.e. audios, videos, multimedia, e-books etc. and enhance learning. Join Us and promote digital learning and skill development

त्रिपुरा की कला और संस्कृति और पूरी जानकारी

आज हम त्रिपुरा राज्य से जुडी जानकारी आपको साझा करने वाले है और त्रिपुरा की कला और संस्कृति और इससे जुडी सभी प्रकार की जानकारी को विस्तार से जानेंगे

त्रिपुरा उत्तर-पूर्वी सीमा पर स्थित भारत का एक छोटा सा राज्य है।जो छेत्रफल के साथ साथ जनसंख्या में भी काफी छोटा है , लेकिन बहुत खूबसूरत है |प्रकृति ने त्रिपुरा को बहुत कुछ दिया त्रिपुरा प्रकृति प्रेमियों के लिए किसी भी स्वर्ग से कम नहीं है |

ऐसे ही खूबसूरत त्रिपुरा के बारे में विस्तार से जानेंगे साथ ही त्रिपुरा की कला और संस्कृति पर भी प्रकाश डालेंगे तो आइये जानते है त्रिपुरा के बारे में –

Table of Contents

1. त्रिपुरा का इतिहास

त्रिपुरा की कला और संस्कृति में हम त्रिपुरा के इतिहास की बात करेंगे त्रिपुरा का अपना बड़ा पुराना और लंबा इतिहास रहा है।14वीं शताब्‍दी में बंगाल के शासकों द्वारा त्रिपुरा के नरेश की मदद किए जाने से इसका इतिहास मिलता है| त्रिपुरा के शासकों को मुगलों के बार-बार आक्रमण का सामना करना पड़ा था |अनेक प्रकार की लड़ाईया में त्रिपुरा के शासकों ने बंगाल के सुल्‍तानों को कई बार हराया है ।

19वीं शताब्‍दी में महाराजा वीरचंद्र किशोर माणिक्‍य बहादुर के शासनकाल में त्रिपुरा में नए युग का आरम्भ हुआ। उन्‍होने ब्रिटिश भारत के नमूने को अपनाया और उनमे कई सुधार लागू किए। उन्होंने 15 अक्‍तूबर, 1949 तक त्रिपुरा पर राज किया । इसके बाद त्रिपुरा का भारत संघ में विलय हो गया।शुरूवात में यह भाग-सी के अंतर्गत एक भारतीय राज्‍य था और उसके बाद 1956 में राज्‍यों के पुनर्गठन होने के बाद इसको केंद्रशासित प्रदेश बना दिया गया ।सन्न1972 में इसको पूर्ण राज्‍य का दर्जा दे दिया गया ।

Read also hindifreedom.com/culture/493/सिक्किम-की-कल्चर-हिंदी-मे/(opens in a new tab)

2. त्रिपुरा का भूगोल

त्रिपुरा भारत का तीसरा सबसे छोटा राज्य है जिसका क्षेत्रफल लगभग 10491 वर्ग किमी है। त्रिपुरा के उत्तर, पश्चिम और दक्षिण में बांग्लादेश है जबकि पूर्व में असम और मिजोरम राज्य की सीमा लगती हैं।त्रिपुरा मध्य से और उत्तर से एक पहाड़ी क्षेत्र है, जिसे पूर्व से पश्चिम की ओर चार प्रमुख घाटियाँ, धर्मनगर, कैलाशहर, कमालपुर और खोवाई,इसको काटती हैं। जबकि पश्चिम व दक्षिण की निचली घाटियाँ खुली और दलदली हैं, फिर भी दक्षिण में भूभाग बहुत अधिक कटा हुआ और घने जंगलों से ढका हुआ है।

त्रिपुरा को उत्तर से दक्षिण की ओर उन्मुख श्रेणियाँ घाटियों को काटती हुई अलग करती हैं।सन 2011 के अनुसार त्रिपुरा राज्य की जनसंख्या लगभग 36 लाख 71 हजार थी। अगरतला त्रिपुरा की राजधानी एवं सबसे बड़ा शहर है। बंगाली और त्रिपुरी भाषा यहाँ प्रमुखता से बोली जाती है |

3. त्रिपुरा का परिवहन

सड़क मार्ग.

त्रिपुरा में विभिन्‍न प्रकार की सड़कों की कुल लंबाई 15,227 कि.मी.तक है, जिसमें से मुख्‍य जिला सड़कें 454 कि.मी एवं अन्‍य जिला सड़कें 1,538 कि॰मी॰ हैं।

रेल मार्ग

त्रिपुरा में रेल मार्गो की कुल लंबाई 66 कि॰मी॰ तक है। रेलवे लाइन को मानूघाट तक बढा दिया गया है एवं अगरतला तक रेलमार्ग से पहुंचने का काम पूरा हो चूका है और इस रेल लाइन (88 कि.मी.) को राष्‍ट्रीय परियोजना घोषित कर दिया गया है । साथ ही अगरतला-सबरूम संपर्क रेल लाइन विस्‍तार के कार्य को केंद्र सरकार द्वारा मंजूरी मिल गयी है।

हवाई मार्ग

त्रिपुरा का प्रमुख हवाई अड्डा अगरतला में स्थित है। अगरतला कोलकाता (पश्चिम बंगाल) और असम के विभिन्न नगरों से वायु मार्ग द्वारा अच्छी तरह से जुड़ा हुआ है। इसके अलावा त्रिपुरा से अन्य शहरो को भी वायु सेवा से जोड़ने का काम जारी है |

Read also hindifreedom.com/culture/246/मणिपुर-की-कला-और-संस्कृति/(opens in a new tab)

4. त्रिपुरा में पर्यटन

त्रिपुरा की कला और संस्कृति – त्रिपुरा हर दृष्टि से पर्यटन के लिहाज से सम्पन राज्य है। त्रिपुरा में अनेक पर्यटन स्थल मौजूद हैं। यहाँ देखने एवं घूमने-फिरने के लिए आपको अनेक प्रकार के स्थान एवं स्थल मिल जायँगे। यह राज्य बाकी पूर्वोत्तर राज्यों के मुकाबले पर्यटन की अधिक संभावनाओं से परिपूर्ण है। यह राज्य पूर्वोत्तर के राज्यों के अलावा बांग्लादेश जाने वाले पर्यटक को भी आकर्षित करता हैं। इसलिए होटल उद्योग के विकास के साथ साथ यहां पर्यटन की संभावनाएं भी काफी बढ़ी हैं।

त्रिपुरा में पर्यटन की अपार सम्भावनाये मौजूद है और यह पर्यटकों के लिए एक स्वर्ग है |कोलकाता व गुवाहाटी से राजधानी अगरतला तक वायुमार्ग द्वारा आसानी से पहुँचा जा सकता है। त्रिपुरा में खोवाल, कमालपुर और कैलाशहर तीन छोटे हवाई अड्डे मौजूद हैं।

त्रिपुरा के कुछ पर्यटन स्थल की सूची

उज्वंत पैलेस.

उज्वंत पैलेस त्रिपुरा की राजधानी अगरतला में मौजूद है। यह शहर के बीच में स्थित है तथा लगभग एक किलोमीटर के दायरे में फैला हुआ है। यह महाराजा राधा किशोर मणिक बहादुर द्वारा सन् 1899-1901 के मध्य बनवाया गया । वर्तमान में यहा राज्य विधानसभा मौजूद है।

कुंजभवन

कुंजभवन का निर्माण सन् 1917 में महाराजा बीरेंद्र किशोर मनिक बहादुर ने करवाया था। सन् 1926 में रवींद्ररनाथ टैगोर जब अगरतला गए थे तो वह कुंजभवन में ही रुके थे। अभी इसका उपयोग राज्यपाल के सरकारी निवास स्थान के रूप में होता है |

जगन्नाथ मंदिर त्रिपुरा

यह मंदिर स्थापत्य कला का अनूठा नमूना पेश करता है। इसे देखने के लिए पर्यटक दूर दूर से आते है।यह त्रिपुरा की राजधानी अगरतला में स्थित है |

राज्य संग्रहालय

इस संग्रहालय में आप त्रिपुरा के प्राचिन इतिहास व संस्कृति से संबंधित दुर्लभ वस्तुओ की जलक देख सकते है । त्रिपुरा पर्यटन की यात्रा पर आने वाले ज्यादातर पर्यटक यहा जरूर आते है।आपको भी यहाँ जरूर जाना चाहिए |

ब्रह्मकुंड

ब्रह्मकुंड त्रिपुरा की राजधानी अगरतला से 45 किलोमीटर की दूरी पर उत्तर दिशा में स्थित है। यहा हर वर्ष मार्च अप्रैल और नवंबर के मेलो का आयोजन होता है ।

कमला सागर झील

कमला सागर एक बहुत ही खुबसूरत एवं बड़ी झील है। यहाँ की एक पहाडी पर काली मां का मंदिर भी है। यहाँ हर वर्ष अक्टूबरर माह में मेले का आयोजन होता है।

त्रिपुर सुंदरी मंदिर

त्रिपुरा पर्यटन सूची में यह मंदिर त्रिपुरा का प्रसिद्ध मंदिर है। हिन्दू धर्म में त्रिपुर सुंदरी का बडा महत्व होता है। क्युकी यह 51 शक्तिपीठो में से एक है। ऐसा मान्यता है कि यहा देवी सती की देह का दायां पैर गिरा था। प्रतिवर्ष यहा लाखो श्रृद्धालु दर्शन करने आते है। त्रिपुर सुंदरी मंदिर त्रिपुरा की राजधानी आगरतला से 55 किलोमीटर की दूरी पर है।

अन्य कुछ पर्यटन स्थल इस प्रकार है – सेफाजाला नील महल उदयपुर पिलक महामुनि अगरतला, उनोकोटि जामपुई हिल

5. त्रिपुरा के संगीत और नृत्य

क्युकी किसी भी राज्य की संस्कृति बिना नृत्य और सगीत के अधूरी होती है |इसलिए त्रिपुरा की कला और संस्कृति भी संगीत एवं नृत्य के बिना अधूरी होगी | त्रिपुरा के स्थानीय संगीत के वाद्ययंत्र जैसे :- सुमुई, जो एक प्रकार की बांसुरी होती है। दूसरा ‘खंम’ जो एक तरह का ड्रम होता है। इसके अलावा यहा के वाद्ययंत्रो में तारा आधारित ‘सांरिडा’ और चोंगपाएंग भी प्रमुख है। त्रिपुरा के भिन्न भिन्न समुदायो के अपने स्वंय के गाने, लोकगीत और नृत्य है। जो अपनेप्रमुख अवसरो जैसे:- शादिया, धार्मिक संस्कार, और त्यौहारो पर प्रस्तुत किए जाते है। त्रिपुरा के लोगो का गरिया नृत्य जो एक प्रकार का धार्मिक नृत्य माना जाता है।

जबकि रियांग समुदाय के लोग अपने होजगिरि नृत्य के लिए प्रसिद्ध है। जो युवा लडकियो के मातृत्व पिचर पर आधारित होता है। इसके अलावा राज्य में कई अन्य प्रकार के नृत्य जैसे :- त्रिपुरी समुदाय का लीबांग नृत्य, चाक समुदाय का बिझू नृत्य, गारो समुदाय का वागला नृत्य, हलाक कुकी समुदाय का हाई हक नृत्य और भोंग समुदाय का ओवा नृत्य शामिल है जो यहाँ की विविधता में एकता को दर्शाते है |

Read also hindifreedom.com/culture/579/मेघालय-की-कला-और-संस्कृति/(opens in a new tab)

6. त्रिपुरा के त्यौहार (त्रिपुरा की कला और संस्कृति)

त्रिपुरा की कला और संस्कृति में अब हम आ पहुंचे है त्रिपुरा के त्यौहार पर । त्रिपुरा में काफी हद तक हिन्दूओ धर्म का प्रभाव है। इसलिए यहा त्यौहार वही ज्यादा मनाएं जाते है जो शेष भारत में मनाए जाते है। त्रिपुरा के प्रमुख त्यौहार में दुर्गा पूजा जो दशहरा के वक्त मनाया जाता है। इसके अलावा खर्ची पूजा, दिवाली, डोल जात्रा (होली) पोस संक्रांति, अशोकष्टमी और बुद्ध जयंती, ईद, क्रिसमस और नए साल के जश्न बढ़ी धूम धाम से मनाए जाते है। इनके अलावा आदिवासी तयोहार जैसे गरिया, केर गंगा, और गजन उत्सव प्रमुखता से मनाये जाते है।

अशोकष्टमी के दौरान उन्नोकोटी में विशेष आयोजन किया जाता है वही पुराने अगरतला में चौदह देवी मंदिर अपनी खर्ची पूजा के लिए पर्यटकों को आकर्षित करता है। इसी तरह पोस संक्रांति के मोके पर तीर्थमुल भी त्रिपुरा पर्यटकों को आकर्षित करता है | अगर देखा जाये तो त्रिपुरा राज्य में प्रत्येक जनजाति के अपने नृत्य और त्यौहार है। जो बड़े उत्साह से मनाये जाते है और यह यहाँ की विविधता को दर्शाते है |

7.त्रिपुरा के त्यौहार

त्रिपुरा की कला और संस्कृति – त्रिपुरा के पहनावे में पुरुषों के लिए पारंपरिक पोशाक एक तौलिया होता है, जिसे रिकुतु गाचा के रूप में भी जानते है कुबै एक प्रकार की शर्ट होती है त्रिपुरा में पुरुष कुकू के साथ रिक्तु गाचा पहनते हैं। जबकि गर्मी के दौरान गर्मी से बचने के लिए त्रिपुरा के पुरुष अपने सिर पर पगड़ी पहनते हैं।त्रिपुरा में भी पश्चिमी संस्कृति की झलक देखने को मिलती है यहां भी पश्चिमी संस्कृति को प्रभावित करने वाले लोग, विशेष रूप से आज युवा पीढ़ी जींस, पायजामा, शर्ट्स और टी-शर्ट और आधुनिक जीवन शैली की वेशभूषा के विभिन्न प्रकार के कपडे पहनते है |

त्रिपुरा में जहा तक महिलाओ के पहनावे की बात है तो त्रिपुरा की महिलाए का परिधान एक बडे कपडे के समान होता है जिसको महिलाए अपने कमर से लेकर घुटनो तक लपेटे होती है। इस कपडे पर सुंदर हस्त कला की कढाई की होती है। जिसे खाक्लू कहा जाता है। इसके साथ ही महिलाए ब्लाउज पहनती है।.इसके साथ ही गले को आकर्षक दिखाने के लिए महिलाए सिक्का और मोतियो से बने हार गले में पहनती है।इसके अलावा उत्सवो में आकर्षक दिखने के लिए सुंदर गहने भी पहने जाते है |

Read also hindifreedom.com/culture/529/मिजोरम-की-कला-और-संस्कृति/(opens in a new tab)

8. त्रिपुरा का खाना

त्रिपुरा की कला और संस्कृति – त्रिपुरा तीन ओर से बंगलादेश की सीमा से घिरा होने के कारण त्रिपुरा के खाने में बंगलादेशी मिश्रण देखा जाता है यहा के लोग ज्यादातर मछली, चावल और सब्जियो पर निर्भर होते है। इसके अलावा मटन, चिकन और सूअर के मीट के साथ मास यहा के भोजन में शामिल है । मुई बोरोक, बागुली चावल, मछली स्टोज, बांस की मारिया, किण्वित मछली, मांस के रोस्टज त्रिपुरा के प्रमुख खानो मे से एक है। मुई बोरोक त्रिपुरा की बेहद स्वादिस्ट डिश है।

त्रिपुरा के भोजन में चावल की मात्रा ज्यादा रहती है।यदि आप रोटी खाने के शौकीन है तो त्रिपुरा की यात्रा में आपको रोटी कम ही देखने को मिलेगी। त्रिपुरा के स्थानीय होटलो में भी चावल का उपयोग काफी ज्यादा होता है |

आज हमने जाना त्रिपुरा की कला और संस्कृति और इससे जुडी पूरी जानकारी को अगर आपको हमारी पोस्ट अच्छी लगी हो तो कमेंट करके जरूर बताये या अगर कोई जरुरी जानकरी छूट गयी हो तो भी कमेंट करके जरूर बताये |

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NCERT Solutions

NCERT Solutions for Clas 6 to 12 in Hindi / English

TBSE Class 11 Sanskrit Model Paper 2024 (PDF)

TBSE Class 11 Sanskrit Model Paper 2024 has been released. You can now download the class 11 sample paper as PDF. After completing Sanskrit syllabus prescribed by TBSE ( Tripura Board of Secondary Education ), you can solve this Sanskrit model paper to aim to get full marks in 11th Sanskrit test. After that you can download more TBSE 11th Model Paper .

TBSE Class 11 Sanskrit Model Paper 2024

What is the TBSE Class 11 Sanskrit Model Paper 2024 ?

The TBSE Class 11 Sanskrit Model Paper 2024 is a compilation of model questions based on the Sanskrit syllabus and as per exam pattern of TBSE for 11th students. This Class 11 Model paper is a very useful exam preparation resource for the Sanskrit exam. Without further ado, the TBSE Model Question Papers for class 11 Sanskrit is as given below.

TBSE Class 11 Sanskrit Model Paper 2024 PDF

While the complete class 11 sample paper for Sanskrit is given above. We have also provided direct link to download Sanskrit model paper PDF here at allncertsolutions.com.

TBSE Class 11 Sanskrit Model Paper 2024 PDF Download Link – Click Here to Download Sample Paper

• TBSE 11th Model Paper

After you are done with the Sanskrit sample paper. Then you can download model question paper for all subjects for Tripura board exams also.

• Accountancy
• Business Studies
• Political Science
• Islamic History
• Islamic Studies

TBSE Model Question Papers

In addition, you will find model paper of Tripura board here at allncertsolutions.com.

• Class 3 Model Question Paper for Tripura Board
• Class 4 Model Question Paper for Tripura Board
• Class 5 Model Question Paper for Tripura Board
• Class 6 Model Question Paper for Tripura Board
• Class 7 Model Question Paper for Tripura Board
• Class 8 Model Question Paper for Tripura Board
• Class 9 Model Question Paper for Tripura Board
• TBSE Madhyamik Model Question Paper
• TBSE 12th Model Paper

TBSE Class 11 Sanskrit

• The Tripura Board Class 11 Sanskrit Book is prescribed for all 11th std students for Sanskrit subject, to study the TBSE Class 11 Sanskrit Syllabus 2024 .
• The questions answers of this book is in TBSE Solutions for Class 11 Sanskrit .
• After completing these, you should download TBSE Class 11 Sample Papers for Sanskrit , and  TBSE Class 11 Sanskrit Previous Year Question Papers  to ace your exam preparation.
• Moreover you can also use TBSE class 11 notes for Sanskrit to round up your exam preparation.

TBSE Class 11 Sanskrit Model Paper – An Overview

An overview of this study material is as follows.

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TBSE Class 11 Sanskrit Model Paper 2024 PDF

TBSE Class 11 Sanskrit Model Paper 2024 PDF includes sample questions for TBSE board exams 2024 . So if you are going to appear in 11th class exams of Tripura Board of Secondary Education , then you should add Tripura Board Class 11 Sanskrit Model Question Paper of ncert.expert in your preparation plan. This is because TBSE Model Paper Question Paper Class 11th familiarizes you with Sanskrit question paper and helps you get full marks!

The TBSE Class 11 Sanskrit Model Paper 2024 PDF is an important study material for Tripura board exams . You can now download this TBSE Model Question Paper for 11th standard, if you have Sanskrit as one of your subjects.

Tripura Board of Secondary Education releases sample papers from time to time. The paper we were able to curate is as follows. However keep checking tbse.tripura.gov.in for any new version of paper.

TBSE Class 11 Sanskrit Model Paper 2024

The TBSE sample paper for class 11 Sanskrit is as follows.

TBSE Class 11 Sanskrit Model Paper Download Link – Click Here to Download Sample Question Paper PDF

• TBSE Model Paper Question Paper Class 11th

Looking to get full marks in all Tripura class 11 exams? Here are model papers for all subjects.

• Accountancy
• Business Studies
• Political Science
• Islamic History
• Islamic Studies

TBSE Model Question Paper

Moreover we at ncert.expert have Tripura sample papers for more classes, as follows.

• Tripura Model Question Paper Class 3rd
• Tripura Model Question Paper Class 4th
• Tripura Model Question Paper Class 5th
• Tripura Model Question Paper Class 6th
• Tripura Model Question Paper Class 7th
• Tripura Model Question Paper Class 8th
• Tripura Model Question Paper Class 9th
• TBSE Madhyamik Sample Paper
• TBSE 12th Sample Paper

TBSE Class 11 Sanskrit Model Paper – Quick Guide

Here’s a summarized information guide of this study material:

If TBSE Class 11 Sanskrit Model Paper 2024 helped you, then please share with your friends. And if you have any questions, then comment below!

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