Mediaeval Sinhalese Art c11.s1.98

c11.s1.98

Branches and vines are most various in form and treatment, and everywhere in continual use; they are especially characteristic of painted wood, carved door-jambs and embroidery. Of these forms Mr. Bell remarks: “The main ornament, repeated in endless variety . . . is the continuous scroll of foliage. . . . Single or double, large or small, plain or complex, its convolutions throwing off leaves . . . or . . . sometimes a repeated flower, or even enclosing partially or throughout, figures of dancers,—the one leading idea is kept steadily in view, and it would be difficult, if not impossible, to substitute other ornamentation more elegant, refined and better suited to its purpose.” *Liya-veḷa* frequently springs from the mouths of animals, as in Early Indian art (Pl. XI., 5 and 3). The feeling for growth is very strong and logical in all the forms, though none approach nature closely in detail; such a monstrosity as leaves growing in opposite directions from one stem, or stems without a logical beginning and end would be almost impossible to the Kandyan designer. A careful study of Pl. XV., and Fig. 52, will show how exceedingly logical and full of feeling for growth is the Sinhalese treatment of vines. The *liya-veḷa* may either be used to cover space as in Pl. XXXVI., 6, 7 and 9, and in Pl. XV.; or may form a border, in which case the floral or foliaceous elements alternate very regularly on opposite sides of the waved stem (Pls. XXXI., border; XXXII., 9; XXXVIII., 4; XXXIX., 9, etc). Fig. 12 on Pl. XXVI. shows an especially handsome form.