Book Reviews
Tantric Buddhism and art of Galvihara
Author: Chandra Wikramagamage and Kayoko Kusumoto
Published by the Academy of Sri Lankan Culture (0112850013)
Pages: 76
 Galvihara (rock temple) in Polonnaruwa is one of the most important
monuments in Sri Lanka. Built by Parakramabahu I (1153-1186 AD) in the
twelfth century it has captured the imagination of the visitor by its
sheer aesthetic concept and the superb sculptural achievement. Hewn out
of natural rock it is an imposing sight, yet simple and dignified.
At the same time, it has given rise to so much of controversy.
Mahavamsa makes mention of it this way: ‘Likewise the Ruler of men had
the Uttararama built. By breaking down the rock not far from the Great
thupa he by bringing into play every kind of skilled work, had these
grottoes made by expert craftsmen, namely the Vijjadhara grotto, the
cave with the image in the sitting posture and the grotto with the
recumbent image’.
As is evident Mahavamsa mentions only about three images, and no
reference is made to the standing image that is between the excavated
cave and the recumbent image. This image with the unusual hand posture
has set a poser to archaeologists and other art historians. When was it
built? Was it before or after the Galvihara? Is it Ananda grieving over
the parinibbana (passing away) of the Buddha? Or is it Buddha himself?
Such is the enigmatic aspect of this art work. It is undoubtedly one
of the best specimens of sculpture the country offers, and it is
precisely because of this that so much of controversy has grown around
it.
Monuments in Polonnaruva lay hidden in the jungle for several
centuries. Fagan, who was apparently the first to visit the site, has
left behind a moving note about his response in seeing the monuments, in
which he says that he was ‘astounded’ and could not express in words his
feelings in seeing the colossal image.
Many other British and local archaeologists followed and have left
their impressions. Speaking of the site Emerson Tennant says; ‘One
cannot avoid being struck by the fact that the artistic talent exhibited
in the execution of these singular monuments in Ceylon was far in
advance to what was prevalent in Europe at the period when they were
executed.’
The present volume, Tantric Buddhism and Art of Galvihara,
co-authored by Chandra Wikramagamage and Kayoko Kusumoto is an attempt
to study Galvihara from several perspectives. It discusses not only the
influence of Tantric Buddhism on Galvihara but also its architectural
features, sculptures, paintings and the significance of the Standing
Image which had led to so much debate.
The co-authors in their attempt to study the site from several
perspectives place it against a wide spectrum of similar art works. So,
quite apart from the scholar, the average reader gets the opportunity to
view and study a whole gamut of sculptures that are classics in their
genre.
The co-authors in their study examine with scientific evidence almost
all views expressed by various scholars with regard to Galvihara. This
study itself brings to focus the meaning behind traditional works of
religious art. It discusses symbols, postures, architectural styles and
other features which when used in sculpture convey a particular meaning.
It is through a searching for these meanings by perusing a vast area
of historical evidence that the authors come to their conclusions. And
this is a noteworthy aspect of this research. It helps both the
professional and the amateur to find in one volume material that he
would have had to search through various sources.
To my mind, however, what is important is not so much the conclusions
arrived at by the co-authors, justified as they are, but the discussion
itself. The line of argument and the mass of evidence led to support it
comprise a vast field of scientific and historical knowledge. And the
discussion in a lucid style widens his knowledge of art and sculpture
and opens the doors to a new aesthetic experience, not to mention
history.
The publication is timely in the sense that there is a dearth of
books in simple English about ancient art. While the average reader is
interested in ancient art he finds it difficult to study it owing to
lack of books with lucid explanations.
This is not to suggest that this book is meant for the average
reader, but it is written and facts presented in such a form that a
layman can follow the line of argument. It widens his knowledge of art
and helps him to understand the meaning and philosophy behind it.
For it is common knowledge that even a simple guard stone, balustrade
or a moonstone embody symbolic suggestions, a knowledge of which helps
to appreciate the respective works of art better.
Tantric Buddhism and Art of Galvihara is a collector’s item. It
should find a place in the bookshelf of anyone who wishes to study and
appreciate ancient art. The publication opens our eyes to a new vista of
knowledge and aesthetic experience.
- Edmund JAYASURIYA
Human relationships in different dimension
Name: Thepal Karanavata vada Hasunpath Sthreen Liyanne Ai?
Author: Darian Leader
Translator: Nishantha Kularathne
Publisher: Sethuka Publishers
One fine evening he and she were looking at the pleasant scenery of
descending sun. Without disturbing their scenery a couple was walking
down the street by murmuring to each other. His eyes ran away to that
young lady. ‘She is beautiful’ he thought. Her eyes eagerly ran away for
their wrap up but loosen hands. ‘They are not in love that much’ she
thought.
 ‘I know you’ is probably the worst possible thing a man can say to a
woman and the best possible thing a woman can say to a man. While most
men like to be included in generalisations, many women don’t.
This fact is well known to the retailers: If you want to sell a coat
to a man, you can tell him that everyone in the city or on Wall Street
is wearing it, but if you want to sell it to a woman, it is better to
say on contrary, that no one is wearing it.
With reference to the ideas of the French Psycho Analyst Jacques
Lacan who turns the subject of Psycho Analysis into a new dimension, the
author Darian Leader tried to explore these imbalances of the
relationships between men and women. And also he tried to make a sort of
collage of observations and explanations about the sexuality of men and
women.
The main objective of Sethuka Publishers is to give the opportunity
for the Sinhala readers to gather knowledge, which has been limited due
to the language barriers. This is also the first book published in Sri
Lanka about Lacanian Psychoanalysis. Rather than focusing exclusively on
clinical examples, the author used many examples in cinema, drama,
romantic fictions and gothic novels.
This book is ideal for the parents of teenagers, as well as to the
general community who wish to view human relationships in a different
dimension.
- Anuradha KODAGODA |
