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2.0 EARLY & MIDDLE HISTORICAL
PERIODS: 250BC - 1250AD
The earliest paintings and sculptural works that formed an essential part of the
development of Sri Lankan Buddhist architecture in the early historical period can no
longer be found. But the relief sculptures of the frontispieces (vahalkadas) of
ancient stupas, dating from the 2nd and 3rd centuries, and their platforms depict the
relief sculptures probably made towards the end of the Early Historic Period.
The stylistic features of these sculptures shed much light on the formation of a Sri
Lankan classical style in sculpture and painting. The work of the Middle Historical
Period shows the continuity and the persistence of this style throughout this period.
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Jetavana Stupa, Anuradhapura, 3rd-4th centuries and after. The
super structure of the stupa has collapsed. If this was extended to its logical peak, the
total height of the stupa from the terrace measures about 400 feet. |
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Sigiriya & its water gardens and
moats, 5th century. The western precinct of the Sigiriya Complex. |
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Residence of a Chief Monk, Abhayagiri, Anuradhapura, 5th-8th
centuries. The residence of a chief monk was also the teaching unit where the pupils were
guided in their academic and religious training. |
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Moonstone, Abhayagiri, Anuradhapura, 6th-8th centuries. This is
one of the most exquisite moonstones found in Sri Lanka. |
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Nagaraja, Jetavana, Anuradhapura, 9th-10th centuries. An
unfinished guardstone that was being prepard for the residence of the chief monk at
Jetavana. |
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Lankatilaka Image-house, Polonnaruva, 12 century. This was
originally a brick vaulted structure with a stucco covered exterior. |
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Rare bronze Vajrapani discovered near Ratkaravva Puranavihara
(Kurunagala district). Late Anuradhapura Period, 750AD - 850AD. |
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Dolomite marble torso of a standing Nagini or
Yaksini, found at Anuradhapura or Mihintale. Late Anuradhapura Period, 4th-5th century.
Archaeological Museum, Anuradhapura. |
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Naga Symbol, Abhayagiri,
Anuradhapura, 6th-8th centuries. This symbol is generally associated with water and is
often found at water inlets or outlets. The present example is from the Twin Ponds
complex. |
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Silver image of meditating Tara, possibly the consort
of Tathagata Amitabha. From Gangaramaya (Kurunagala district). Late Anuradhapura Period,
7th-8th century. |
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Samadhi Image at Galvihara, Polonnaruwa, 12th
century. This statue is one of the masterpieces of Sri Lankan Buddhist sculpture. |
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Detail of the sandalwood
door-frame at the entrance to the Visnu Devale at Aludeniya, Kandy district. Presented by
king Bhuvanekabahu lV (1341-1351), ruling from Gampola. |
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Standing rock-carved Buddha, popularly identified
with Ananda. Gal Vihara, Polonnaruwa. Polonnaruwa Period, reign of Parakramabahu l
(1153 - 1186AD). |
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Paintings
The earliest datable paintings in the classical style are found in the 5 century
place-city of Sigiriya of King Kashyapa. After Sigiriya, the 12 century AD murals at
the Tivanka Image house at Polonnaruva are the most comprehensive body of paintings found
at one place that belongs to this period. A period of 600 years separates Tivanka
from Sigiriya, but stylistically Thivanka murals are an extension of the
classical-naturalistic style that developed during the Early Historical period centered in
the Kingdom of Anuradhapura.
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Apsara. Sigiriya, 5th century. |
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Divine beings. Pulligoda cave-temple, Dimbulagala. 7th-8th
century. |
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Apsara, Sigiriya 5th century. |
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Geometrical shapes & motifs, Cobrahood cave, Sigiriya, 5th
century. |
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| The painting style and technique of the Sigiriya murals are unique
among the murals of the Anuradhapura period. While it can be located within the
broad stylistic aspects of Anuradhapura paintings, Sigiriya, however, has unique features
in terms of line and its application. The lines of Sigiriya murals impart an
ambience of sketchiness and swiftness that establishes the sense of volume in the
shapes and forms of the figures. The multiple presences of sketchy lines further
enhances the sense of volume-ness of the shapes and forms of the painted figures by giving
rise to a subtle spatial ambiguity at the edges of the painted forms. In other words
the lines of Sigiriya murals constitute an exploratory pictorial approach in the very act
of drawing as an art, and in the act of registering the sense of volume on a flat
surface. The sense of volume-ness thus registered on the surface is further
confirmed by the way the paint has been applied. |
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Divine beings from panel composition (details). South wall of antarala, Tivanka temple,
Polonnaruva. Last quarter of the 12 century
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The paint has been applied in sweeping strokes, imparting slightly more pressure on one
side of a flat brush, which has thus created a deeper color tone along the edges of a
shape. This has also resulted in leaving a high tone area on the shapes and forms of
the figures. This feature is more or less a common stylistic feature of the
Anuradhapura paintings, as can be seen from the murals of Mahiyangana relic-chamber, or
form the 'Pulligoda galge' murals. However, what distinguish these murals from
Sigiriya are the lines and their application. In general the main characteristic of
the lines of Anuradhapura painting style, including that of Polonnaruwa is that it is a
sure and precise linear mark registered on the surface is also the artists last
line. One does not see the sketchy and exploratory nature of the Sigiriya lines and
their application that make them unique among the murals of the Anuradhapura period.
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