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# Mediaeval Sinhalese Art c19.30

Mediaeval Sinhalese Art c19.30

- **Language:** English

### [c19.30](https://indike.org/pramana/ins.art.coomaraswamy-1908.c19.30)

In Kandyan painting there is an entire absence of perspective and shading. The primary object is to tell an edifying story in an attractive way. The work is thus rather epic in character, than artistic in the modern sense. It has a great deal in common with the mural painting of Egypt; in its pure gay colour, decorative flat treatment and restfulness, it is most admirable as wall painting. As in Egypt, “the wall is a wall still and not a window; nay a book rather, where, if you will, you may read the stories of the gods and heroes, and whose characters, whether you read them or not, delight you always with the beauty of their form and colour.” Beside \*jatakas\* we find other subjects on walls, particularly the \*sat-satiya\*, \*suvisi-vivarana\*, rows of arhat priests, \*māra-yuddhaya\*, etc. Large wall spaces are not usually covered with mere pattern work, which only appears as an accessory (Pl. VIIA). If the religious subjects are not depicted, beautifully designed pictures of trees may be found, as at Danagirigala (Pl. XIV., 8). Portraits of royal or other patrons are sometimes painted flat on the walls, as at Doḍantale, where there is a valuable costume representation of Kirti Śrī wearing the famous \*kurulla beṇḍi malaya\* now in the Maligāva, and carrying a jewelled cane; but more often the figure of the patron is modelled in low relief. All figure subjects, whether images of Buddha in the round, or Gods or patrons in low relief on the walls are invariably painted, the costume of the Gods or men covered with fine diaper and other pattern work (Pl. XIV., 5 and 6).

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Source: [https://indike.org/pramana/ins.art.coomaraswamy-1908.c19.30](https://indike.org/pramana/ins.art.coomaraswamy-1908.c19.30) · Pramāṇa
