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| Wednesday, 19 May 2004 |
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Exhibition of copied temple paintings : Priceless murals by Ranjith Liyanage
An exhibition of copies of temple paintings by second year students of the Department of Art and Sculpture, Institute of Aesthetic Studies, University of Kelaniya, will be opened on May 24 at 10.30 a.m. at the JDA Perera Gallery, No 46, Horton Place, Colombo 7. The exhibition will remain open till June 7 daily from 10 a.m. to 7 p.m. The primary purpose of the Buddhist temple paintings is the kindling of Sraddha or devotion in the minds of the ordinary people by graphically presenting to them some aspect of the Dhamma or doctrine or episodes from the life of the Buddha. Buddhist paintings in Sri Lanka are a priceless facet of the cultural heritage of the island. On stylistic grounds this tradition can be divided into two major categories the classical and Kandyan. It is imperative that students of art should learn the characteristics of these different styles. Modern masters like Pablo Picasso and Henri Matisse and many others have derived inspiration from the art tradition of the past. Students who are following the degree programme in Fine Arts are required in their second year to copy murals from Sri Lankan temple walls. The purpose of this requirement is to study elements of composition like colour, form, line and continues narrative style of those paintings. With this objective in view the second year students have made copies of murals from temples in different parts of the country. These temples include Degaldoruwa Rajamaha Vihara - Kandy, Karaputugala Jayasinharamaya, Gangaramaya - Lewella, Mulkirigala Rajamaha Viharaya, Asoskaramaya-Kalutara, Subodharamaya - Karagampitiya, Pilikuttuwa Rajamaha Viharaya, Kaballawa Rajamaha Viharaya - Kuliyapitiya, Ridi Viharaya - Kurunegala, Tivanka Pilimage - Polonnaruwa, Sri Visuddaramaya - Kuruwita, Nagaraja Maha Viharaya - Kadigamuwa, Rajamaha Viharaya - Pokunuwita, Silabimbaramaya - Dodanduwa. These copies will be included in the forthcoming exhibition of works by second year students of the painting section of the Department of art and Sculpture. Techniques A study such as this not only gives the students an opportunity to streamline their own technique but also gives them valuable insight to the life and times of the paintings they are copying. In this process they can also acquire ethnological, sociological and cultural aspects such as dress, household items mannerisms and occupational tendencies pertaining to the times of the painters. Paintings of temples in the coastal belt are a fine example of this. In later medieval times the Portuguese, Dutch, and finally English influence on temple murals is shown by the use of male, female western costume, such as gowns, coats and trousers, furniture includes the use of almirahs, four-post beds, chairs and tables, swinging lamps and wall clocks with Roman figures. Architectural features are depicted in the use of round pillared open verandahs Romanesque arches etc. it is interesting to note that soldiers carrying guns are also depicted in the paintings and horse carts are used as conveyances for royalty. Temple murals in the Kandyan region maintained and preserved their traditions and it is observed by the non-appearance of these alien influence in them. The students get a rare opportunity to compare these differences and understand them. One of the most striking aspects of these temple paintings of the Kandyan period in particular in the stylization of nature by utilizing for ornamentation objects, derived from nature and stylized according to artistic tendencies of the time and tradition. Frescoes
These organic elements include primarily the lotus and other flowers like Sapu, Kadu-pul, Watakeyiya and creepers such as Picca (Jasminum sambac)comprising part of the composition in order to fill empty spaces to keep the spatial relationship of the painting. Many of our early frescoes and murals have been lost for ever. There are hundreds of Buddhist temples which are rich in artistic murals and scattered all over the island particularly in the Central and Southern Provinces. Most of these paintings show sign of decay and are on the brink of destruction due to exposure to the elements and lack of conservation. An exhibition such as this will help immensely not only to create an awareness of such art treasures, the existence of which many are unfortunately unaware, but will also be an impetus to the creation of public opinion to promote their appreciation and take steps to conserve them for the benefit of future generations. The most important outcome of this exercise, however, is the fact that the students can, like, modern masters, draw inspiration from these paintings for their own creative work. The writer is Senior Lecturer, Head of the Department, Department of Art and Sculpture, Institute of Aesthetic Studies, University of Kelaniya **** Back **** |
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