Mediaeval Sinhalese Art c10.s2.1

c10.s2.1

The *Netra Maṅgalya* ceremony is one of great interest in itself, and important from our point of view as showing the craftsman in his sacerdotal capacity (see p. 63) and as illustrating the relation between him and his patron. The ceremony was really the dedication of the temple (more exactly, the image in it); and it will be well for the sake of completeness to trace very briefly the whole course of events connected with the building of a new vihāra, before laying special stress on the *netra maṅgalya*. The patron was almost always the King, who had, of course, the state workmen at his disposal. But in many cases the patron was a layman or group of laymen*; or might be a priest who made himself responsible for the construction or restoration of a temple.† Having determined to build and endow a new vihāra, the King sent presents of betel, etc., by yoke, to the artificer (whom hereafter I speak of as the foreman) in the *paṭṭal-hatara* who was to be entrusted with the work, and requested him to undertake it. Any lesser man than the King would on such an occasion go himself with the presents to the smith's house. The foreman appointed a meeting with the patron (as I shall call the King hereafter) on the spot, after determining an auspicious moment for beginning the work (*nekat balanava*). He there received presents of clothing and rice, and performed various preliminary ceremonies analogous to those proper to the building of a house, but more elaborate. An altar to Gaṇa Deviyō (Gaṇesha) and *bulat taṭuva* to Bhūma Dēvī were erected and an *aṭamagala* diagram drawn (see glossary), after which the work on the foundation was begun.