sri lankan sculpture

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The historical period of art forms in Sri Lanka commences in .... Chola dynasty attacked Sri Lanka in 993 AD and plundered Anuradhapura. The Buddhist ordersĀ ...
SRI LANKAN SCULPTURE To evaluate and appreciate art manifestations they should be viewed in their geographical and historical setting. The whole picture will not be complete without similar understanding of arts and crafts, song and dance, philosophy and religion, literature and language, as these forms express different aspects of emotions and preserve the highest recorded impressions of the inhabitants. The historical period of art forms in Sri Lanka commences in the 6th century B.C.; however, very little information is available about the early sculpture except the stray references to the beautiful pavilions and the gem-set thrones and palaces of the legendary Naga kings. This tradition of art was maintained presumably from pre-historic times and attained a high level of development during the Pandukhabhaya period and continued up to the time of King Devanampiyatissa. Because of the close friendship of King Devanampiyatissa with Emperor Asoka of India and closer ties between the two countries, the art of the island would have undergone major changes in conception, style and spirit. When Arahat Mahinda brought the gift of Buddhism around 250 BC profound changes would have been introduced affecting also the art forms. Sinhala Sculptures Fahian, the Chinese pilgrim who visited the island from 411 till 413 AD, mentions the rich decoration of the sacred temples, the beautiful works of art, and the festival of the Tooth Relic at Abhayagiri Vihara. It is believed that the Sinhalas adopted, together with Buddhism, many other facets of Indian civilisation, including architectural, artistic and ceremonial aspects. A wealth of sculpture has been discovered at the capital city of Anuradhapura. The three oldest extant images are said to be those of kings Devanampiyatissa, Bhatiyatissa and Dutthagamani (c. BC 161-137). As documented by the excavated Buddhist bronzes, the creative talent of the Sinhala craftsmen developed a distinct Buddhist art form. Earliest known bronze sculptures of Buddha date only from the sixth century. The development of the style of Buddha images from its beginning in the 3rd century AD until the fifth century is therefore only documented by stone sculptures. The well-poised, well balanced and well modelled Samadhi Buddha statue, a rare work of art executed in stone, is the best example of this characteristic style. The literary references about Buddha images in the Mahavamsa and the Culavamsa are of great interest. The Mahavamsa, possibly written down in the fifth century AD by the orthodox faction of the Sangha, named after the Mahavihara at Anuradhapura and its affiliates, refers to a golden image of the Buddha among the contents of the Mahathupa relic-chamber during the reign of Dutthagamani (c. BC 161-137). The next reference about metal images in the chronicles dates almost 350 years later and concerns King Voharikatissa (c. 209-231 AD) who is attributed with the setting up of two bronze images at the Sri Maha Bodhi Shrine and King Mahasena (c. 274-301 AD) is credited with the setting up of two bronze images. Culavamsa testifies that image casting was not limited to statues of Buddha and Bodhisattvas and mentions a golden image of Mahinda requested by King Sirimeghavanna (c. 301-328 AD). King Upatissa I (c. 365-406 AD) is credited with the making of a golden image of Buddha in an effort to free the island from the harmful effects of a famine and plague. In the courtyard of the Sri Maha Bodhi King Dhatusena (c. 455-473 AD) set up sixteen bath maidens of bronze. Mahinda II (c. 777-797 AD) had a Buddha image made of pure gold, furnished with a costly diadem of jewels, and a Bodhisattva image, presumably of Maitreya, made of silver placed in the Silamegha convent. This is the only Bodhisattva acknowledged by the conservative factions of Mahavihara. King Dappula II (c. 815-831 AD) had a golden Buddha image made for the Jetavana Vihara. During the reign of King Sena I (833-853 AD) the South Indian Pandyan King Srimara Srivallabha (831861 AD) invaded the island, and with the help of some natives ravaged the northern province and sacked Anuradhapura. Sena I who undertook repairing the damage had made a golden Buddha image. King Sena II (853-887 AD) in collaboration with the son of King Srivallabha, who rebelled against his father, invaded the Pandyan territory, captured its capital Madhurai, and placed the rebellious son on the Pandyan throne as Varagunavarman II. King Mahinda IV (956-972 AD) is claimed to have had a golden image of the Buddha made in his own size.

The stone carvings at Isurumuniya belonging to the early period of Anuradhapura reflect the lighter theme of Gupta style of Indian sculpture. In this sense Lovers at Isurumuniya could be compared with the couple painted at Ajanta caves in India. Another unique Sinhala contribution is the moonstone found at the 'Queen's Palace' at Anuradhapura. This glorious period continued up to the end of the 6th century. Mahayana Sculptures The literary and archaeological evidence indicates that Mahayana philosophy was quite popular in Sri Lanka during the late Anuradhapura period. The most important evidence of the extent and diversification of Mahayana Buddhism is represented by the sculptures. At the time of King Parakramabahu I (1153-1186 AD) there were three main factions of the Buddhist order, namely, the Mahaviharavasins, the Abhayagirivasins and the Jetavanavasins. The king in an effort to strengthen Buddhism took the initiative to unite the various factions into one "Supreme Order", thus wiping out Mahayana Buddhism as an independent faction. The existence of Mahayana is indicated, for example, by the bronze image of Samantabhadra or Vajradhara where all five Tathagatas of the Mahayana pantheon are depicted and distinguished by their particular gestures. Hindu Sculptures Polonnaruwa, the capital of Sri Lanka during the medieval period, was known as the city of Pulasti, named after the famous Hindu sage. The remnants of Vijithapura, originally founded in the 6th century BC and encircled by moats built by the generals of Dutthagamani (c. BC 161-137) are nearby. King Aggabodhi IV (667-683 AD), Aggabodhi VII (772-777 AD), and Sena I (833-853 AD) temporarily resided at Polonnaruwa. The unstable and anarchistic conditions prevailing towards the end of late Anuradhapura period drew in foreign intervention. Rajaraja I (983-1014 AD), the ruler of South Indian Chola dynasty attacked Sri Lanka in 993 AD and plundered Anuradhapura. The Buddhist orders suffered hardship at the hands of the invaders who were traditional Hindus propagating the worship of Siva. The southern part of Sri Lanka, Ruhuna, once more became the refuge of all the rebellious Sinhala forces who continued to fight the invading forces. The Sinhalas under the command of King Vijayabahu I (10551110 AD) defeated the invaders and liberated Polonnaruwa. The Cholas built at Polonnaruwa Hindu temples (Devales) for the worship of Siva and Vishnu. One of the best monuments the Siva Devale No.2, according to the Tamil inscription, was originally named after Vanavanmadevi Isvaramudaiyar, the first queen of the Chola king Rajaraja the Great (983-1014 AD). During the excavations of the Siva Devales numerous Hindu bronze sculptures were discovered. Other Hindu images such as Siva Sukhasanamurti and Parvati were excavated at Anuradhapura. Various authors have provided vivid interpretations regarding the origins of these images, whether or not they were done by Tamil or Sinhala craftsmen, or were simply imported South Indian bronzes. Decadance of Sculpture as an Art Three centuries of colonialism made people too pre-occupied with social upheavals and the field of art became practically barren. The Portugese colonised the low country in 1505 and their possessions were handed over to the Dutch in 1640. During this period the kingdom of Kandy in central uplands could not generate creative art forms due to lack of patrons and peace. Peace was established during the reign of Kirti Sri Rajasinha (1747-1780), when temple painting was revived.in the Kandyan style. Buddhist temples at Dambulla, Degoldoruwa, Ridi Vihara and Telwatte Purana Vihara are good examples of this. However, most art forms had degenerated to that of a mere traditional calling practised in family succession. Religion too declined, and the dominant motivating factors of art forms were non-existent. Independence was being lost. Art was sustained by the poor craftsmen who still had an urge for it. The British hold since the late 18th century closed the gate of entry to the progressive new world and ancient art forms of the island of Sri lanka came to rest until independence was gained in 1948. References: 1. Wijesekera N, Ancient Paintings and Sculpture in Ceylon, (Colombo: Dept. of Cultural Affairs, 1964) 2. Schroeder U.V., The Golden Age of Sculpture in Sri Lanka, (Hong Kong: Visual Dharma Publications, 1992)