Mediaeval Sinhalese Art c31.24

c31.24

We have spoken so far almost exclusively of the history of decorative art; but the art was one whole, and must so be considered from a historical point of view. If we compare the Barāhat sculptures and the Kandyan paintings as regards style and subject matter, we shall find that the conventions of ancient and modern artists are close akin. The ancient method of ‘continuous narration’ is equally characteristic of both. The whole picture is brought into one plane, and there is little or no attempt at perspective. A delight in delicate detail, as in the delineation of feathers, costume, etc., and in clear distinct outline is apparent in both schools. The representation of trees is very characteristic; the sculptured trees of Barāhat and the painted trees of a Kandyan vihāra have much in common. The treatment is entirely decorative and idealistic. The lost school of Barāhat painting, if such existed, must have been very like Kandyan. Unfortunately we have few remains of the minor arts dating from Aśokan times; it is likely that a study of these would increase the impression of similarity between Kandyan and Barāhat art.