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| Saturday, 5 October 2002 |
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The apparel oft proclaims the man Title: Costumes of Sri Lanka from the 6th Century BC. Reviewed by Dr. Lorna Dewaraja This remarkable and spectacular work by Wimalaratne and Dian Gomes has been long overdue. Except for a few articles in English and Sinhala, covering certain periods and certain aspects of the island's dress forms, nothing of this comprehensive nature has been attempted. This work covers the entire evolution of Sri Lanka's rich and diverse dress forms from the island's hazy beginnings from pre Vijaya times in the 6th century BC when the first available evidence of male and female attire emerges, right up to the present day when globalisation has made its inroads into the sartorial sphere in a big way. Not only has the author surveyed the entire course of history but has investigated into the costumes worn by men and women of all ethnic groups, communities of migrants, caste groups and all social levels. The author has examined a variety of sources, literature, sculptures, paintings, graffiti, photographs and foreigners' accounts. With his years of experience in the Archives and his proximity to many sources, Dr. Wimalaratne was in an ideal position to undertake this task. It struck me as rather strange, that this is the first book on the costumes of Sri Lanka considering the length of our history, the variety of influences that have had their impact on Sri Lankan society and the fascinating array of dress styles that we have had. Further, when many countries in the world including India and Pakistan have had books on their costumes, we did not have a book of this nature either in English or in Sinhala except for a few articles in the press and the descriptions by foreign visitors. The Communicative Power of Dress It is said that the apparel oft proclaims the man and woman as well. One can judge at a glance even among Sri Lankans, the ethnic identity, the locality where he/she was bred such as North or South, up country or low country, rural or urban educational and cultural levels, social or professional status, economic status, caste, religious and even political leanings. One could even say whether a person is an English Speaker or a vernacular speaker and whether he/she is a modernist or a traditionalist from his or her attire. The work is not merely a catalogue of colourful garments; but the author has gone deeper and examined the social, political and religious pressures behind the changing dress styles. Topless Ladies of Sigiriya Speaking of female dress one cannot ignore the Sigiriya ladies who were either topless or wore see-through upper garments and have tantalised generations of viewers. These were heavily bejewelled aristocratic women of Kasyapa's court; obviously, Sinhala society of the 5th century and even later did not consider bare breasts as a sign of immodesty. Wimalaratne has quoted the Sandesa poems to prove this. The Grandeur of Kandyan Dress The chapter on The Rulers illustrated with exquisitely beautiful pictures evokes considerable interest. This is the first time that the costumes and ornaments of men and women from the highest to the lowest strata of Kandyan society has been pieced together. Wimalaratne's knowledge of Sri Lankan history and his long experience in handling various sources, discreetly has made this chapter a mine of information for any one who is interested in the grandeur that was Kandy. The pictures of the Kandyan rulers and disaves that are reproduced are of better quality than I have seen anywhere else. The unique attire of the Kandyan dancers, the typically Kandyan jewellery and the intricate embroidery which adorned the betel bags, women's jackets and cloth coverings for religious offerings are heightened and profusely illustrated. The author says that while the population of the low country succumbed to Western influence and the elite folk adopted the Saya and Hatte in the Portuguese fashion, complete with hats and shoes, the persistent popularity of the Osariya and other typically Kandyan garments and accessories in the hill country, symbolised Kandy's abhorrence foreign rule and resistance to imperial cultural influences Tug-of-War between Modernity and Tradition It is clear that dress is not merely a body cover or an adornment but it can send powerful messages. An extreme case is Gandhi who showed his utter contempt for British power and prestige by entering the portals of Buckingham Palace barefooted in a loin cloth. In Sri Lanka an attempt was made in the early 20th century to maintain the obligations to religions and tradition without foregoing the advantages of being modern and on the side of the foreign rulers. Hence we find the ludicrous, hybrid absurdities like the Redda Asse Mahattayas - literally gentlemen beneath the cloth. The picture of the Redda Asse Mahattayas seated upright lifting their indigenous Redda six inches above the ankle to display the Mahattaya underneath is hilarious, showing the inner tug-of-war that prevailed in their minds - the struggle between modernity and tradition! This is well illustrated in the Fez Controversy of 1907 when the Chief Justice Sir Charles Layard ordered M. C. Abdul Cader, the first Muslim advocate of Sri Lanka, to resume his Fez Cap when appearing in Court. Abdul Cader, though in full European dress refused to comply, and withdrew, since he considered it an affront to his religion and culture. The Muslims held meetings all over the island and submitted a petition to the Supreme Court. It was minuted that Abdul Cader should not appear in court with his Fez Cap. There was a mass movement among the Muslims and they decided to appeal to King Edward VII. Before this extreme step was taken the Supreme Court authorized Abdul Cader to wear the Fez Cap. Costumes of the Minorities The authors discuss in detail the dress of Tamils, India Merchant communities, Colombo Chetties, Chettiars, Bharathas, Malays, Burghers and Afghan money lenders, Borahs and Parsees. The author has looked into the various factors, political and economic that dictated dress forms at different periods in Sri Lanka's history, the mutual adaptation of dress styles among ethnic communities as well as between east and west. He shows the various nuances and symbolism of dress, its communicative power, heightening ethnic identities and challenging authority. This book is far too profound to be called a coffee table book. It is work of scholarship, the result of intense academic research and should be of interest to the scholar and to any layman who is interested in Sri Lankan art, history and sociology. Dr. Wimalaratne and Dian Gomes should be congratulated for undertaking this commendable venture. The book is attractively printed with excellent photographs and should be in every library for the in-depth information it provides a scholar and general reader. Anyone looking out for a coffee table book or as a present to a dear one this book would certainly fulfill the requirement to its highest standards of presentation of the matter and the excellent lay out of the book. |
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