Sri Lanka’s largest resource of murals

Saturday, 25 April 2015 00:00 - - {{hitsCtrl.values.hits}}

By D.C. Ranatunga The Archaeological Department has started work on conserving the Dambulla rock temple murals and statues, according to a recent media report. The danger to these valuable artefacts had been highlighted earlier too and it’s heartening to know that work has begun. The damage to these is reported to be due to seepage of water and termite attacks. Situated on the Colombo-Anuradhapura highway, Dambulla is acknowledged as the most spectacular of Sri Lanka’s cave temples. One of the country’s World Heritage sites, Dambulla forms part of the Cultural Triangle, the UNESCO-sponsored project to safeguard and preserve ancient places of historical significance.

Dambulla dates back to the days of the 1st century King Vattagamani Abhaya (Valagamba) who was hiding in the area waiting to regain his throne in Anuradhapura from usurpers from South India. Once he was successful, he had converted the caves into a temple in appreciation of the protection given to him. It was then known as Jambukola Vihara. Later, King Nissanka Malla (1187-96) had improved the place. While shrines had been erected in selected caves, it had been during the time of Kirti Sri Rajaisnghe (1747-82) that Dambulla had blossomed out as a Buddhist centre with high quality murals. Writing in the UNESCO publication briefly tracing the evolution of paintings in Sri Lanka, Dr. Roland Silva states: “Dambulla accounts for the largest collection of ancient mural paintings in one site. Sri Lanka is rich in this regard although the bulk of the paintings are from the eighteenth and nineteenth centuries. The five caves on the southern escapement of the rock have 2,000 square metres of classical murals. It is for this reason that Dambulla has been included in the Cultural Triangle programme. “The earliest remains of paintings in Sri Lanka may be dated to about the second century A.D., in sites such as Vessagiri in Anuradhapura and later at Kotiyagala, to the south of the island. Sigiriya in the fifth century comes fairly high in terms of its chronology, which suggests that there must have been a well-established school of painters prior to this period. With the high watermark of Sigiri paintings, we see an element of baroque intrusion in the details of Hindagala dated to the eighth century and those at Puligoda and Mahiyangana which precede the twelfth-century efforts at the Tivanka Pilimage. “After this period the paintings are rare with occasional appearances as seen at the upper chamber of Gadaladeniya until the King Kirti Srirajasimha period. It is quite possible that many temples were over-painted during this phase as seen even at Dambulla. However, our largest resource of murals come from the eighteenth-century period and of these Dambulla is the finest. There are well over 500 temples with paintings in this country and this is a treasure that is most delicate and must be preserved for posterity.” In the same publication, Senake Bandaranayake refers to Dambulla as “one of the largest cave temple complexes in the South and Southeast Asian region and one of the most important centres of Buddhist pilgrimage in Sri Lanka.” Architectural masterpiece The picturesque site can be reached by climbing several rows of steps up to the big rock. Five caves are set on a side of the rock. The main cave is identified as ‘Maharaja Vihara’ after the founder, King Valagamba and is accepted as the architectural masterpiece of the complex. Over 50 metres in length, it is 23 metres deep with a maximum height of seven metres near the main screen wall. The setting inside is unique with a main Buddha image in the centre. The seated Buddha is under a ‘makara torana’ with attendant deities. On one side of the cave is a rock cut stupa surrounded by eight seated Buddha images. This setting is elaborated by Bandaranayake who describes the vast interior as one of the most dramatic internal spaces in Sri Lankan architecture and points out that though it is not compartmented but is specially differentiated by a complex arrangement of statues and paintings. “Despite the absence of architectural divisions, a loosely defined but clearly observable system of spatial zoning and hierarchy exists within the elaborately painted and sculptured space. The iconography of the shrine divides it into three distinct areas: the central sanctuary in front of the principal Buddha image and attendant deities is flanked by two subsidiary areas to the east and west, one surmounted by a large panel or narrative registers painted on its ceiling and the other by a small rock-cut stupa, surrounded by eight seated Buddha images. “Moving further east, we find an extension or ‘antechamber’ to this central sanctuary in the form of a hall or subsidiary sanctum, covering a large, relatively open space. Its limits are defined by the ‘dagaba’ and central sanctuary in the west, rows of Buddha images to the north and east, and a large recumbent image to the south. In the centre of the eastern section of this antechamber area is a small, half-walled precinct in which a large vessel is placed to collect water dripping from the ceiling of the cave, the water believed to have sacred properties and used in daily temple offerings.” Most important heritage of Dambulla The 18th century murals are considered the most important heritage of Dambulla. They cover an area of more than 2,000 square metres spread over the five caves. They are also the largest preserved group of rock and wall paintings, sculpture and architecture, and one of the most ambitious undertakings of the Kandyan artists. Dambulla paintings do not give pride of place to Jataka stories. Instead, the accent is on the life of the Buddha. These include murals depicting the daughters of Mara trying to disturb the Buddha reaching Enlightenment, Buddha’s first sermon, ‘Parinirvana’, and the meeting of the first council after ‘parinibbana’. Scenes of prince Vijaya’s arrival, introduction of Buddhism, battle between Dutugemunu and Elara and Ruvanveliseya are among the murals relating the early history of Sri Lanka. Rich collection of Sri Lankan sculpture Dambulla also has one of the richest collections of Sri Lankan sculpture, says Bandaranayake. These include the large number of Buddha images in standing, seated and recumbent postures as well as a few outstanding figures of gods and Bodhistvas and three royal portrait sculptures. The royal portraits are those of the three kings – Valagamba (Anuradhapura period), Nissanka Malla (Polonnaruwa period) and Kirti Sri Rajasinghe (Kandyan period) – who have contributed immensely to make Dambulla such treasured centre of Buddhist veneration. Pix by Sarath Perera