Sri Sri Auniati Satra is a satra or monastery located in the Majuli river island in Assam, India, that adheres to the Brahma Sanghati of the Ekasarana Dharma, a socio-religious and cultural movement initiated by Srimanta Sankaradeva, who was born in 1449 CE.

The monks of the satra are udaseen Vaishnavas, meaning, they are celibate and avoid every worldly affair to focus entirely on Krishna, who is the supreme deity in Ekasarana Dharma and considered to be Param Brahma, the ultimate reality.

Monks are trained in the thoughts of Sankaradeva and other preceptors, as well as Satriya life, theatrical performance called bhaonas, playing instruments like khol and taal and Sattriya dance.

The name "auniati" is traditionally believed to have come from the words "auni", which is a variety of betel and "ati", which means a place with high altitude.

[1] It was built at an elevated place where the auni variety of betel used to grow, giving the satra its name.

Kavichandra Dvij, in his "Keshava Charita Pada", writes:[2] "Aunipan ek brikhyot asil Tar xomipot zotu xotro xazisil Etekexe auni asi nam xotro kohe Dokhyine Dihing nodi mohabege bohe" (There was an auni betel tree Near that a satra was built Therefore, it is named Auni Asi Satra In its south, the river Dihing flows fast) The exact year in which the satra was established is a matter of debate.

[4] However, other historians believe that the satra was actually established at the behest of Sutamla's predecessor king Sutingpha in the year 1644 CE.

[3][5] Yet another opinion is that Jayadhwaj Singha got it established as a "raj satra" in 1656, donating land and paiks or labour.

The following is the list of the satradhikars of Auniati Satra:[13][14] Being a part of the Ekasarana Dharma, Krishna is worshipped as the supreme deity.

The satra arranges for both their formal (secular) education and training on the thoughts of Sankaradeva, Sattriya or monastic culture and the rules of monkhood.

[17] Young monks leave ties with their families, reside in the satra premises and partake in its activities.

They are taught the art of Gayan Bayan, which is singing (particularly the works of preceptors such as the borgeets) and playing instruments such as the khol and taal.

[19] Natua, Apsara, Sutradhar, Ozapali (Panchali and Dulari), Sali, Jumura, Krishna Gopi Nritya, Maati Akhara and Gayan-Bayan are some of the dances practiced in this satra.

The laity who wish to associate with the satra but are unable to adopt monkhood in its entirety are initiated into the fold via institutions called xoron and bhojon.

[1] Xoron luwa (literally, taking shelter) is the ceremony whereby a member of the laity accepts the Satradhikar as guru, and vows to follow certain principles preached in the Ekasarana dharma, such as devotion to Krishna, forgoing the consumption of alcohol, treating guests at home well etc.

Several festivals are organised in the Satra, associated with the Ekasarana faith, such as the anniversaries of preceptors and various occasions marking events in the life of Krishna.

A major festival associated with the Auniati Satra is the Pal Naam, which is celebrated every year in the Assamese month of Kati.

The monks are routinely trained in theatre (bhaona), dance (Sattriya), singing (borgeet) and playing instruments (khol and taal).

The monks of the Sri Sri Auniati Satra are often invited as delegations for Sattriya performances at various places, including the Indian Republic Day celebrations in New Delhi; in the presence of the President of India at the Rashtrapati Bhawan and other cultural institutions such as the National Museum in Delhi and various places in India and abroad.

While it remained relatively small for centuries, it suddenly expanded under the rule of king Suhungmung and went on to become the most influential power in the northeast of India.

To gain legitimacy in the Hindu society, the Ahom dynasty underwent Sanskritisation, with Suhungmung adopting the Sanskrit name Swarganarayana.

Almost 150 manuscripts are preserved in the satra's premises, some of which include ankia nats of Srimanta Sankaradeva and Sri Sri Madhavadeva in Brajavali, Adbhut Ramayana by Raghunath Mahanta in old Assamese, Anadi Patan by Sankaradeva in old Assamese, Amara Koshha by Amar Singha in Sanskrit etc.

Gajendra Chintamani, detailing how elephants are caught and tamed, illustrated by Mughal painters Dilbar and Dosai, was gifted by Siva Singha.