Mediaeval Sinhalese Art c22.73

c22.73

A digression is made here to explain the nature of the damascening. This takes in Ceylon three forms; the simplest is that known in Northern India as *koftgari*, where the surface of the iron is roughened by fine crossed scratching, and the silver wire pressed into these, engaging firmly with the rough surface. This method is only employed in inferior work, and is not very often met with. The two other forms, which are generally combined in the same piece of work, are those of inlay and overlay. In the case of inlay, a very narrow groove is cut in the steel, and the silver or brass wire laid in this; the surface is then hammered, causing the two sides of the groove to grip the silver wire very tightly; and when the surface is smoothed and filed, the design shows up brightly in clear outline. In the case of overlay, the surface to be covered is first slightly excavated, and round its circumference a groove is undercut in the matrix; then the brass or silver plate is fitted into the groove, and the overhanging edge of it beaten down so as to hold the overlaid plate quite firmly. In most cases the surface of the matrix is carved before the overlay is applied, and then the design appears in relief through the overlay, the silver or brass being beaten down on to the carved matrix until closely moulded to its surface. The overlaid metal may also be chased after its application to the matrix. These various ways of damascening are known as *riḍi-keṭayan-veḍa*. The work is for the most part done by blacksmiths; but the finer knives and boxes are made by silversmiths.