Mediaeval Sinhalese Art c38: Description of Plates
Mediaeval Sinhalese Art c38
- Language
- English
Description of Plates
c38.1
Details from *jātaka* paintings at Degaldoruva Vihāra, done between 1771 and 1786 A.D. The pictures are chosen from those immediately to the left of the door of the image-room, illustrating the Vessantara Jātaka, of which a summary has been given above, p. 42. In the original paintings, there is no division into separate scenes; there is instead ‘continuous narration,’ the key to the events being only given by a few words of Sinhalese beneath the principal scenes. The upper panel reproduced shows first Prince Vessantara, riding in state upon the rain-giving white elephant. “Early in the morning,” says the jātaka, “the Prince, intending a visit to the alms-hall, washed himself with sixteen pitchers of perfumed water, and broke his fast, and mounted upon the back of his noble elephant richly adorned proceeded to the eastern gate.” Finally, near the southern gate, he met the Brahmans from Kalinga, and in answer to their prayer gave to them the elephant, with all its trappings, and this gift is represented on the right hand of the same panel.
c38.2
Many interesting details should be observed. The Prince is dressed in the traditional royal costume of a king or dēva, not in the actual costume worn by the eighteenth century Kandyan kings. In other respects the picture fairly represents a Kandyan State procession. The five attendants, beginning from the left, carry respectively something, perhaps an offering, covered by a napkin (*pesa-lēsuva*); a *sēsata* with lacquered handle; *sanda koḍaya* (?); *mutu kuḍaya* and *vaḍana talatta*. The sixth and seventh attendants are half hidden; the eighth is the elephant-keeper, carrying the goad (*henḍuva*), his lower caste indicated by his darker colour. The goad has a lacquered handle. The Prince has ready to hand a smaller goad (*aṅkusa*). Then follow two attendants carrying emblems of authority, and another with a white flag (*suḍu koḍiya*), with a little streamer (*savarama*). In the second scene, on the extreme right, the Prince is seen pouring water from a *kenḍiya* into the hands of the Brahmans, who come next in the original, in ratification of the gift; immediately behind him is his chief attendant or minister, distinguished by the *bōralaya* worn upon the *vaṭa toppiya* which the others wear alone. The elephant’s trappings, described in the *jātaka* as priceless, are also to be noted, especially the alternate red and yellow cloth lappets in the form of *bō*-leaves, the jewelled anklets and ornament, worn upon the frontal lobes and over the eyes. The lotus rosettes (*nelum-mal*) are used decoratively to fill out the space evenly, but have nothing to do with the picture. The first of these is of the form in which the outer ring of petals is replaced by a whorl of cobra heads.
c38.3
The lower panel in two scenes shows us the arrival of Vessantara and Madrī Dēvī and the two children at the hermitages prepared for them by Viśvakarma at Śakra’s order at Vaṅgiriya. On the left is the mountain Vipula, by the foot of which they passed, and next the river Ketumatī where they rested and ate and bathed and drank before proceeding further. The trees represent thick forest, through which they passed until they came to the ‘four-square lake.’ Then Vessantara, seeing a path, knew that it led to a hermitage, and going in front of the others, found indeed the pansala prepared, he entered, “and putting off his bow and sword, with the garments which he wore, he donned the garb of a hermit, and coming forth entered the covered walk and paced up and down and . . . approached his wife and children. Madrī fell at his feet in tears; then with him entering the hermitage, she went to her own cell and donned the ascetic dress.” This is the second scene, shown on the right hand of the lower picture.
c38.4
The hermit’s cave, with the couch, curtain and water-pot (*keṇḍiya*), and the hermit’s dress, consisting of a cloth, a deer-skin and a girdle, should be observed. He holds in his hands a rosary (*nava-guṇa-vela*) and a staff. The two inscriptions read respectively, *Eḷi eṭa dan dun vaga* and *Madrī dēvī haṇḍu veṭunu vaga*; i.e., “Gift of the white elephant,” and “Madrī Dēvī’s weeping and prostration (before Vessantara).” (The syllable *nu* has been omitted in the reproduction.)
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PLATE II. DAUGHTERS OF KANDYAN CHIEFS. To illustrate the wearing of jewellery, chiefly ear-rings, necklaces, pendants, bracelets and rings. The bird pendant and chain worn by the second girl are the *kurulu beṇḍi mālaya*, the ‘garland with the bird,’ shown on a larger scale on Plate L., figure 8. The embroidered *heṭṭaya* and gold-woven *ohoriya* of the first girl should be noted; but the second wears a quite plain *heṭṭaya*, and an *ohoriya* of English material. For details regarding the dress of Kandyan women, and explanation of terms, see pp. 34, 35. Photos by SKEEN & Co.
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PLATE III. KANDYAN CHIEF. A Kandyan chief in full dress, as follows: *hatara-mulu-toppiya* (four-cornered hat), with *mal-gaha* (strictly a royal prerogative); *kamisiya* (shirt), under *pacca heṭṭaya* (‘green’ jacket) with gold buttons; *tuppoṭiya* (skirt or body cloth), with broad *paṭiya*; knife, finger-ring and handkerchief. Part of a *sēsata* is seen behind the chieftain. The brocade of the *heṭṭaya*, the *paṭiya*, and the *tuppoṭiya* are of Indian manufacture, the rest probably all local, except perhaps the material of the shirt. For an account of Kandyan dress, and explanation of terms, see pp. 32-34. Photo by SKEEN & Co.
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PLATE IV.
1. Kinnara caste weavers of Dumbara mats. On the left a woman seated on a paddy-pounder (mortar for husking rice), spinning the fibre; on the right a man also spinning, his back towards the *pila*, or narrow verandah of the hut; in the centre a boy weaving, in the act of drawing weft fibres through the warp. For description see pp. 243, 244. Photo by SKEEN & Co.
2. Platform prepared with figures of *yakshas* and planetary deities for a *bali* ceremony. The names of those represented, from right to left, are Senasurāgē Ērāṣṭakaya, Vavul Rākshaya, Esvaha Baliya, Guruḷu Rākshaya; the next conspicuous head is the ‘*kibihi*’ of a *makara toraṇa*, beneath which is an Irugē Rūpaya, and above it, Vesamunu Divya Rāja; and next in order to the left, but scarcely seen, Prāṇa Maṅgalya (?), Skanda Divya Rāja, Daśakroḍaya Rāja and Irugē Ērāṣṭakaya. The picture is shown here to illustrate the existence of a plastic art in impermanent materials. Further references will be found on pp. 148, 177, 252, 259.
3. Damascener (*riḍi-keṭiyan-kārayā*) at work, inlaying a handle-rose with silver wire (Pērādeṇiya Exhibition, 1906).
c38.8
CRAFTSMEN AT WORK. [Figure: 1-4. Potters at work :
1. Making a muṭṭiya; eṭili and kaḷageḍi behind. Dumbara.
2. Completing the under side of a ṇembiliya; on the worker's right, a muṭṭiya with water : Balaṅgoḍa.
3. Painting red stripes on a kaḷageḍiya; stacks of muṭṭi behind. The workshop is the verandah of the potter's house : Mādampe.
4. Scoring furrows in ṇembili and koras; Balaṅgoḍa.]
5. Weaver of grass bags or baskets (bulat-mal); a low-country woman living at Haldummulla.
6. Brass founder using stock drill (gal-torapaṇaya) to bore holes in metal: a low-country man, at Mahavalaṭenna, near Balaṅgoḍa. See Fig. 91 and pp. 142, 194.
7. Brass founders' shop, at Mahavalaṭenna, Balaṅgoḍa; low-country men working at an up-country valavva. In the foreground are three furnaces, two containing crucibles.
8. Fair at annual perahera at Saman Dēvāle, Ratnapura; low-country metal-work sold inland.
9. Roḍiya maker of horn combs; Ella, Ūva. See p. 189.
10. Goviya dressed as mura-karaya (watchman), wearing diya kacciya and armed with sword and spear; Haldummulla.
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PLATE VI. CRAFTSMEN AT WORK.
1. Cloth-weaver at work, separating warp threads with sema ḷella to produce a pattern. See p. 234.
2. Cloth-weaver at work, about to throw the shuttle. The left hand rests on the sleay or reed-frame, ready to press back the weft thread after the shuttle is thrown. See p. 234.
3. Spinning cotton. Figs. 1-3 portray the chief weaver of Talagune, a beravāya woman named Ṭikirati,—a stirring woman and great character. See p. 232.
4. Ivory-turner at work. See p. 187.
5. Wood-turner at work, using the modern form of lathe. Near Niriella, Sabaragamuva. See p. 141.
6. Silversmith working in house verandah. The anvil embedded in a heavy log is immediately in front of the smith, who is about to use the blow-pipe to solder a piece of work just laid on the gini-kabala (here, as usual, a common koraha), or fire-pot.
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PLATE VII. ARCHITECTURE.
1. Laṅkātilaka. The most beautiful of the mediæval Kandyan buildings. Brick construction on a stone foundation upon bare rock. On the extreme left the rock surface is covered with the engraved gal-sannasa. Much of the brickwork has been left unplastered. At the main entrance should be noticed the stone balustrades (et-hondavel), and above, the large makara toraṇa arch. The hipped roof over the porch is typical; the number of roofs at different levels is a striking feature, but more unusual.
2. Roof of Dēvāle attached to Gaḍalādeṇiya Vihāra. Shows flat tiles on the hipped roof, which is terminated by an earthen finial.
3. Ambalama at Maṅgalagama. Timbered roof supported on stone monoliths. Flat tiles and earthen finials. See p. 116.
4. Interior of verandah of Danagirigala Vihāra. Timbered lean-to roof supported by monoliths. Mud wall with window on the left. Typical pekadaya capital between monolith and roof timbers. See p. 129.
5. Gaṅgārāma Vihāra, Kandy. Shows hipped roof with overhanging eaves, and lean-to verandah. Plastered bō-leaves can be made out upon the upper part of the roof. The vihāra is built on a stone foundation. On the right a part of the baṇa-maḍuva, or preaching hall, is visible. See p. 118.
6. Part of a cottage, showing designs painted on whitewashed wall. The right hand design of two entwined serpents is known as nāga-dangaya. On the roof are semi-cylindrical tiles; in Kandyan times such a house would have been thatched. In front of the house various seeds and grains are spread out to dry. Near Balaṅgoḍa.
7. Detached Vihāra at Alutnuvara Dēvāle near Balaṅgoḍa. Shows typical constructional features of a vihāra supported on short monoliths. See pp. 117, 118.
8. Door of Devanagala Vihāra, Sab.
9. Bissa, or outdoor granary, made of plastered cane basketwork, whitewashed and decorated. Access to interior only by raising the thatched lid. See p. 116.
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PLATE VIII.
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ABOVE. Daḷadā Māligāva, Kandy, showing the two storeys. The timbered floor of the second storey is supported on painted monolithic pillars. Observe the ‘rayled banisters,’ wooden pillars, ornamented rafters (goṇes) and ‘idda’ of upper storey. The eaves of the verandah roof are decorated with perforated metal ‘weatherboarding’ and strings of flags. BELOW. Interior of rock temple at Dambulla (Dambulu), showing a small dāgaba and numerous images, as well as the painted walls and roof.
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Photos by COLOMBO APOTHECARIES Co. and SKEEN & Co.
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PLATE VIIIA.
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INTERIORS OF VIHĀRAS.
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ABOVE. Interior of Laṅkātilaka Vihāra, piḷima-ge. The following items of the decoration may be noted: makara toraṇa over the image, with dēvas above; on the right, partly hidden by the curtain, and on the left, in a corresponding position, pictures of the sat-satiya or seven weeks (p. 43), arranged thus: 2 1 4 3 6 5 7
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BELOW. Interior of Keḷaniya Vihāra, vestibule. Wall paintings of the eighteenth century. Above, sat-satiya; below, four tiers of jātaka paintings, the uppermost, Dhammapāla Jātaka, the third from the top, the Canda Kiṇdurā Jātaka, then a narrow band of nāri latā veḷa ornament, flowers in vases below; on the right, portraits of benefactors.
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Photos by SKEEN & Co.
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PLATE IX. WOODWORK.
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1. Ran-dōli, ceremonial palanquin of the Viṣṇu Dēvāle, Kandy, showing end carved and painted figure of Śrī with elephants, and carved and turned ivory feet and corner pieces. The background of the carved portion is painted red, the figure yellow with limbs green. Width of palanquin 29 inches. The bent bamboo carrier, lacquered red, black, yellow and green, and with damascened fittings, is visible above. The end (not visible) is covered with copper gilt, the extremity set with a cabochon crystal in a claw mount.
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2. Window of refectory (bhojana salāva) at Malvatte Pansala.
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3. Window at Malvatte Pansala.
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4. Table in the Kandy Museum. Height 22½ inches, dimensions of top, 29½ × 43 inches, the top 3½ inches thick, but hollowed out beneath to reduce weight. Compare with game table of Pl. XLI., iv. See p. 137.
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5. Chair kept in the pohoya-gē at Asgiriya, where it was dedicated by Kīrti Śrī. The chair is painted, and inlaid with ivory, parts are of ebony; the back is 31 inches above the ground.
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6. Bench or table leg, Daḷadā Māligāva.
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7. Bed at Kuṇḍasāle Pansala. Dimensions, 46 × 82¼ inches, height of actual bed, 24 inches from ground, the legs 4½ inches square.
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8. Cradle, in a house near Ratnapura.
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9. Door at Asgiriya Pansala, seen from within. See p. 133.
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PLATE X. WOODWORK.
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1. Daṇḍāsana, literally ‘wooden seat.’ This is a piece of ecclesiastical furniture used in pansalas, but whether actually as a seat (which is unlikely) or as a table for books I am uncertain. The four hooks upon the inner sides of the horizontal bars must, it would appear, have supported a cloth cover. References to daṇḍāsana are found in sannas (p. 48) and lists of offerings, but I have never seen one in use, or pictured in a jātaka painting. The daṇḍāsana figured is kept in the apartments formerly occupied by the Saṅgha Rāja at Malvatte Pansala. It is incomplete, but shows traces of painting. Height above the ground, 18½ inches. See p. 137.
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2. Koḷombuva, wooden stool. Doḍantale Pansala. Height 8 inches. Made from one piece of wood.
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3. Half of pekaḍaya capital, plain type, Doḍantale. Length 27 inches.
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4. Half of pekaḍaya capital, pendent lotus form, Danagirigala. Length 31¾ inches.
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5. The same from beneath, showing the ‘lotus.’ The form of the inner petals is probably influenced by that of the bō-leaf. The lotus thus seen measures 7½ inches square.
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6. Carved plank bed. This is a particularly old and fine example of Kandyan wood carving. The border on three sides consists of an archaic arrangement of lotus flowers in full and side view; the two lower corners and the centre are carved with different lotus forms, the lower right hand one being unfinished. The blank border at the top represents the space occupied by the head board. The table measures 34 × 72¼ inches. The centre lotus is supported on the left by a kind of stalk. On the right is a tree, with strange bird-like forms affronted. On the left, a little above the centre, an excavation has been made (covered in the picture by a restoration), and a game-board cut out, similar to those shown on Plate XII. The legs on the table when obtained, were probably not original, and have been replaced by old bench legs from Jaffna, of a type, also, but more rarely met with in Sinhalese districts. Author’s collection.
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7. Carved rice pounder. Colombo Museum.
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1. *Idi appan van-geḍiya*, ‘string ‘hopper’ masher.’ The central part consists of a cylinder in which a piston works up and down; cooked rice flour is placed in the cylinder and squeezed out through the holes in a metal plate beneath, much as potatoes are wormed in a masher. ‘Hoppers’ (a corruption of *appa*) are a kind of rice bread especially used at the first daily meal; there are two chief sorts, the ordinary, and the ‘string’ hopper. Machines for preparing the latter are not often so elaborately carved as that figured, which was lately presented by Mr. T. B. Paraṇātella to the Kandy Museum. It may have been used in the Royal kitchen, or in that of some chief; but the use of ornamented tools and kitchen and agricultural implements was equally characteristic of all classes. Measurements, 16 × 6⅜ inches, diameter of cylinder, 1⅞ inch.
2. Door bolt (*agula*), carved with *liya pata* ornament, and on the right *kuṇḍi rakkan* diaper. Malvatte Pansala.
3. Bed-head (*isa kaḍaya*), Kandy Museum. Length 30 inches. *Serapeṇḍiya*, lion and *liya-vela* (branch) ornament, framed by a variety of diapers.
4. Three-legged stool (*baṅkuva*). The legs are fitted to the seat by housed dovetails. The top is carved with a central lotus, primitive ‘*Wellenranke*,’ two-ply plait and chevron or wave patterns. Height 9¼ inches. Many of these stools have been copied by the Kandy Industrial School, and sold by the Ceylon Social Reform Society, as examples of Kandyan furniture. 5, 6, 7. Spoon-racks (*heṇḍi-āna-val*). No. 5 from the Kandy Museum, with ‘*kibihi*’ (lion) face above, and *haṃsa paṭṭuva* below. The influence of architectural forms is seen in the ‘stepping’ of *asana kaḍa* type. No. 6 has also a ‘*kibihi*’ face above; Nos. 6 and 7 have *lanugeṭa* (plait) ornament. Both are in the Colombo Museum collection. The spoon-rack used to be a regular article of kitchen furniture; the long thin handles of the coconut-shell spoons used in cooking are slipped through the holes in the rack. Racks of plaited grass are also used in some districts.
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PLATE XII. WOODWORK. 1, 2, 3. Gameboards (*oliṅda-kolombu*). The game is generally played by two players with *oliṅda* seeds, starting with seven or five seeds in each hole. It is sometimes called *mutukeliya*, or ‘pearl game,’ and may have been played by pearls by princesses once. It is still commonly played by Kandyan women, but like all indigenous games is declining in popularity. No. 1, author’s collection, measures 10¼ × 6 inches; Nos. 2 and 3 from the Kandy Museum. See also Plate XLI., 4. 4, 5, 6, and 7. Bed-legs. Characteristic and typically Kandyan types, showing influence of architectural forms. Nos. 4, 5, from a bed in the Kandy Museum, obtained by the author near Ratnapura; No. 6, copy of bed-leg (4½ inches square) from Kuṇḍasāle Pansala (the same bed is shown on Pl. IX. in fig. 7); No. 7 from Kuṇḍasāle.
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PLATE XIII. WOODWORK. 1, 2. Fencing sticks. No. 1 from Kandy Museum, with wooden guard, with *bō-leaf* ornament; No. 2 from Colombo Museum, with ivory guard measuring 6 × 3½ inches. In each case the stick itself is of cane (*ve-vel*).
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3. *Abharaṇa peṭṭiya*, ‘regalia box.’ Turned and lacquered wood, with brass hinges. Diameter 13 inches. Author’s collection.
4. Sweetmeat mould. Colombo Museum.
5. Granary seal. Colombo Museum.
6. Handle of a *kinissa*. Colombo Museum. 7, 8. *Kinisi*. Author’s collection. The bowl of No. 8 elegantly carved with *liya pata* ornament.
9. *Kinissa*. The handle in the form of a *serapendiya*.
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PLATE XIV. PAINTING.
1. Two pages of a craftsman’s notebook (*padimakada poṭa*), probably of early nineteenth century date. The leaves of Dutch, the covers of Sinhalese paper. The two pages shown contain an outline drawing of a *haṃsa paṭṭuva* (also in Fig. 20), and a half-finished drawing of a *haṃsa*, with elaborate foliaceous background. Both are brush drawings. The book was obtained from D. S. Muhandiram of Embekke. The other subjects drawn in the book are elephants (five), *haṃsa* (two others), *haṃsa paṭṭuva* (two others with three and four *haṃsayō* respectively), lion; also a half-finished *lanu-geṭa* and *pañca-nāri-geṭa* designs. Author’s collection.
2. Representation of *Māra Yuddhaya*, from roof of Dambulla (Dambulu) rock Vihāra.
3. Representations of the Nine Planets, from painted timber roof of Keḷaniya Vihāra.
4. ‘Tree of life’ or *kalpa druma* (?) from the same. Both the tree and the ‘garland’ (*mālaya*) frame recall the palampore designs of S. India.
5. *Picca mala* ornament framing an image in relief, Keḷaniya Vihāra. Note also the chevron ornament of dress.
7. Birds and floral ornament, Keḷaniya Vihāra.
8. Trees, from wall at Danagirigala Vihāra. Blank spaces in the lower part were filled in the original, but too much damaged to copy. Small spaces are filled with lotus rosettes in a characteristic manner. The small tree on the right is a plantain, the large symmetrical tree is *na* (*Mesua ferrea*), the other large tree *sapu* (*Michelia champaca*).
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PLATE XV. Vihāra ceiling painting at Gaṇegoḍa, near Peḷamuḍulla. The original in shades of blue and red. For description and analysis see p. 105. The rows of lotus on right and left are painted on two of the main beams, the remainder on the timbered ceiling. The birds and animals in the design should not be overlooked. The photograph is taken looking directly upwards.
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PLATE XVI. Verandah ceiling painting from the Daḷadā Māligāva, Kandy. Drawn from a photograph, by Ethel M. Coomaraswamy. Original in shades of brown and green. The painting represents a forest scene, with birds (parrots), animals (hares and squirrels), and hunters.
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PLATE XVII. ABOVE. *Tiringi tale*, drawn by Embekke Dēvasurēndra Haṅgiḍiya, early nineteenth century, grandfather of D. S. Muhandirama of Embekke. See p. 64 *seq*. BELOW. Tail pieces from the paper ms. described on p. 179 and illustrated also in Fig. 3 and on Plate XX., 1 and 2.
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In a few cases, Plate XVII., the original gold appears in the reproduction as yellow. It will be seen that the elements of the central design, the least characteristically Sinhalese, are repeated in the binding of the same volume (Pl. LII.) which I suppose to have been executed by some European resident in Kandy at the time.
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PLATES XVIII. AND XIX. SCENES FROM THE LIFE OF BUDDHA. From an illuminated ms. written in A.D. 1811, and described on pp. 179-181. Pl. XVIII. Last four of the sat-satiya, or Seven Weeks. See p. 43 and description below Plate XVIII. Pl. XIX. The Buddha preaching to disciples.
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PLATE XX.
1. A page from the ms. described on p. 179. See also Pl. XVII. and Fig. 3.
2. Last page of the same ms.
3. Design for a royal belt (bo-paṭiya), with bo-leaf pendant. An heirloom of the Maṅgala-gama galladdō. Slightly reduced.
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PLATE XXI. THE GOD VIŚVAKARMA, REVEALER OF CRAFTSMANSHIP AND ARCHITECTURE. Drawn by Dēvasurēndra Muhandiram of Embekke. Viśvakarma is represented according to the description given in the canon (Rūpāvaliya), of which a text and translation are here quoted. Sindūram pañca-vaktram daśa-bhuja-sahitam Pustakam, lekhya, khaṇḍam (?), Khaṭvāṅgam, bījapūram, vara-mātha (?) kalaśam Kuṇḍakam (?), akṣamālam, Nāgam paśam vahantam, varada-bhaya-hastam Pīta yajño-pavitam, Vijñatañ jñata-muktim, sudarsana maha Viśvakarmam namāmi.
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“Salutation I give to Viśvakarma, the fair and great, far famed and wisdom-freed, who hath five tilaka-marked faces, ten arms, holding a book and writing style, . . . . an adze (lit. a club), a citron, . . . a water-pot, . . . a rosary, wearing a cobra tied (about his neck), with hands betokening sternness and beneficence,* and wearing a golden sacred thread.”
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PLATE XXII. ROYAL DRESS. ABOVE. Vimala Dharma Sūrya I. and Joris van Spilberghen at Kandy, July, 1602. From the engraving reproduced in Rouffaer and Jouynboll’s ‘Indische Batikkunst.’ The Sinhalese King wears a jewelled crown surmounted by a triśūla, and having a Buddha figure.
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∗ The hand with the sword betokens majesty or sternness; the left hand, in ‘vara’ position, betokens beneficence or mildness. N.B.—Delete the correction given on p. 316, l. 7.
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in the front; a jacket and mante and a patterned tuppotiya, probably of muslin with gold or silver thread (not silk as suggested by R. and J.). He carries a sword hanging by a bandolier over the right shoulder. A lotus flower is in the left hand. The jewellery worn includes earrings, two necklaces with jewelled pendants, armlets and anklets. BELOW. The last Kandyan King attended by his ministers; from a Sinhalese drawing reproduced in Davy's ‘Travels in Ceylon.’ The King wears a crown surmounted by a bōralaya, shirt (kamisiya), tunic (bō-heṭṭaya), cape (mante), trousers (uḍaya), and sandals, earrings, necklaces and pendants. He bears as an emblem a lacquered arrow. Two Aḍigārs stand on the left. The three attendants near them hold the vaḍana talatta, sēsata, and mutu kuḍaya; the same and other emblems are held by other attendants on the right, and a kneeling attendant waves a cāmara.
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PLATE XXIII. WORKING DRAWINGS OF A GOLDSMITH. Heirlooms of the Maṅgalagama galladdō. No. 1 is said to have been for Kirti Śrī Rāja Siṃha, the others for the last king.
1. Stencils (accu) for fretted gold hat (aṭa-mulu-toppiya, see p. 32 and Fig. 1).
2. Design of lotus and affronted haṃsayō, purpose unknown.
3. Design probably for a jewelled nalalpaṭiya. 4, 5. Designs for gold-mounted and jewelled canes. The kings are always represented as carrying such canes.
6. Design for a pendant; bhēruṇḍa, or double-headed bird.
7. Design for a pendant.
8. Designs for finger rings. For other designs belonging to the same series see Pl. XVII. and Figs. 4 and 131.
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PLATE XXIV. LACWORK. 1, 2. Upper part of a lacquered staff. Modern Kandyan. Names of patterns: A., veḷ-poṭa or pahaḍe veḷ-poṭa; B., ādara-koṇḍu; C., gal-biṇḍu or mori biṇḍuva; D., kola veḷa (leafy branch) or kaḷas-daṅgaya; E., pahaḍe or pala peṭi; F., lanu-daṅgaya; G., patura; H., bō-kola (bō-leaf); K., biṇḍuva or tani biṇḍuva.
3. Kaḷas-daṅgaya pattern from a lacquered ‘pingo’ or yoke. Colombo Museum.
4. Deḷa (net) pattern from lacquered staff.
5. Suli veḷa pattern from lacquered staff.
6. Horaṇēva with lacquered wood body (kaṇḍa). Height 13 inches.
7. Veḍi-behet-kārakaya (powder horn) of lacquered wood. Gal-biṇḍu, eka-poṭa-lanuva, patura and other patterns. Slightly reduced. From coloured drawings by Ethel M. Coomaraswamy.
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PLATE XXV. EARTHENWARE. 1-4. Kaḷageḍi. For description see p. 220.
1. Kaḷageḍiya, with stamped ornament of bō-leaves, rosettes, etc. From Aluṭnuvara, Baḷangoḍa; now in Kandy Museum. For detail of ornament see Fig. 139.
2. Kaḷageḍiya, with incised ornament of simple form of branch, fishes, etc. Peḷmaḍulla, Sab. For detail of ornament see Fig. 137, A.
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3. Kaḷageḍiya, with stamped ornament of rosettes (lotus) etc. Koḷonnā Koraḷe. For detail of ornament see Fig. 138, c.
4. Kaḷageḍiya, with stamped ornament and well defined shoulder, usually characteristic of Tamil forms. Peḷmaḍulla, Sab.
5. Muṭṭiya, with stamped *bō*-leaf and rosette ornament. Used for new rice at Aluṭsal Maṅgalya at Kuṇḍasāle. For details of ornament see Fig. 138, D. See also p. 218, 220.
6. *Pōrnuva*, sand oven, with slip-painted ornamented in red. See p. 221.
7. *Pol-koraha*. Balaṅgoḍa. Diameter 16 inches. See pp. 221, 225.
8. *Kotalaya*, with stamped ornament of *bō*-leaves and rosettes. Doḍantale. See p. 220.
9. *Koraha*. See p. 221. Type of vessel often used as a *gini kabala*, as in Pl. VI., 6.
10. *Ṇembiliya*. See p. 221.
11. *Gini kabala*. Balaṅgoḍa. Diameter 12 inches. See p. 222.
12. *Kanbola eṭiliya*, sweetmeat pan. Balaṅgoḍa. Diameter 16 inches. See p. 220. The two last are rare types.
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PLATE XXVI. EARTHENWARE. 1, 2. Obverse (with *siṃha*) and reverse (with *haṃsa*) of eaves-tile from Daḷadā Māligāva. Width 6½ inches. See p. 224.
3. Coping tile with incised ornament. See p. 223 and Fig. 135 (VII. and VIII).
4. *Dummala kabala* (incense burner), with cobra ornament. Kandy Museum. See p. 222.
5. *Dummala kabala*.
6. *Panāva* or *pūnā-kalaya*; resembles *kotalaya* with twelve spouts and seven rims; used in devil dancing ceremonies. See p. 223.
7. Small vessel and hearth (*lipa*) used for *kiri-uturaṇa* ceremony (at Kuṇḍasale Dēvāle). The *lipa*, 3¼ inches high, diameter 5 inches. Those in domestic use are much larger.
8. *Pan-kuḍuva*, lamp-cage or lantern. Maṅgalagama. See p. 220. 9, 10. *Pān-kaṇḍu*, stands for earthen lamps (*meṭi-pahan*). Maṅgalagama. See p. 223.
11. Large *pān-kaṇḍa* or lamp-stand. Danagirigaḷa. Made in a number of separate tiers, The total height is about 3 feet. See p. 223.
12. *Kaḷaha*, vase or lamp-stand. Height 16¼ inches, slip-painted light yellow on red with fine *liya-veḷa* design. Property of Mr. A. Ratvatte. See p. 221.
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PLATE XXVII. Diagram figure of seated Buddha, to show canons of measurement and practical method of determining the proportions of images.
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PLATE XXVIII. WOVEN AND EMBROIDERED CLOTHS.
1. Patterns still used on *eṭirili* made at Taḷaguṇe.
1. *Hin deḷ-geṭa lanuva* (small net-knot plait). 2. *Avul here* (medley of rings). 3. *Vaḷaḷu lanuva* (linked plait). Also combined with 13. 4. *Haḷi-daṅgaya* (rice-meander). 5. *Aṭa-peṭi mala* (eight-petal flower). 6. *Para mala*. 7. *Deṭi mala* (tooth flower). 8. *Hin mal-peṭṭa* (little *mal-peṭṭa*). 9. *Bō-kola* (*bō*-leaf). 10. *Tuṇa pehena* mal-peṭṭa (triple blooming flower); the same with ten rows (counted diagonally)
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would be dahaya pēhena mal-petta. 11. Maha mal-petta (big mal-petta). 12. Katuru mala (scissors-flower or pattern). 13. Depota lanuva (two-ply plait). 14. Mal-petta (flower-petals). 15. Diya reḷa (wave pattern). 17. Kin-negi daṅgaya (stair-meander); the same smaller is called pannan kūra. Straight lines are iri kondu (hair lines). These pattern names taken down from Ṭikirāti of Talaɡuṇe. See p. 234.
2. Embroidered napkin (len suva). Daḷadā Māligāva. The two sides identical. Border of bo-pat kaṅgul design, spear and bo-leaf.
3. Embroidered napkin. Daḷadā Māligāva. The two sides identical. Design of four elaborate plaits framed by border of ‘intermittirende Wellenranke’ type, on a flowered ground. Needle ‘lace’ edging.
4. Embroidered shawl (ura malaya). Daḷadā Māligāva.
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PLATE XXIX. LOOMS AND WOVEN CLOTHS.
1. Loom, seen from the position occupied by the weaver. Observe the pattern faintly shown in the warp threads, resulting from the insertions of numerous thin rods to preserve the ‘sheds’ for use when required. See p. 234.
2. Near view of loom on the right side, showing a row of bo-leaves just started.
3. Kapu kapana yantraya, cotton ginning machine.
4. Part of an eṭirila, with elaborate plait designs, birds and cobras. Collection of the Hon. J. P. Lewis.
5. Eṭirila from Talaɡuṇe, typical designs. Author’s collection.
6. Gahōniya, belonging to the Tiboṭuvave Maha Nāyaka of Malvatte. Length 31 inches.
7. Paṭiya, belt, belonging to the Tiboṭuvave Maha Nāyaka of Malvatte. Measures 75 × 8 1/4 inches. The centre is plain, the two ends alike. The colours are black, red, pink, blue-green and yellow. This unique specimen is said to have been made in Ūva. The patterns are of especial interest: note especially serial repetition (animal processions), affrontment, knop and flower, intermittirende Wellenranke, calyx volute, and fret motifs.
8. Detail of a gahōniya flounce. Gilimale. Bo-leaf design.
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PLATE XXX. EMBROIDERY.
1. Small betel-bag, fine red cotton embroidered in blue and yellow silk. Length 8 1/4 inches. Author’s collection. See p. 238.
2. Embroidery on white cotton, copy of part of an embroidered jacket (heṭṭaya), said to have been used by a queen in the eighteenth century. See p. 239.
3. Ispayya, embroidered cap, with quilted flaps, worked with coloured silks. Lent by Mr. T. B. Keppiṭipola. See p. 239.
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PLATE XXXI. EMBROIDERY.
1. Embroidered betel-bag, property of Varakaule Ukku Baṇḍa of Uḍa Nuvara. Typical example of a large bag. Length over 4 feet.
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1, 2. Betel-bag. Colombo Museum.
4. Betel-bag, red felt, embroidered with blue and white cotton. The five-petalled lotus is unusual. Four borders, and centipede stitch binding.
5. Tassel of a bag similar to that illustrated in No. 4.
6. Part of border of a large bag, author’s collection. For the palmette design, cf. Pl. XXXIII., 1, and p. 251.
7. Border of a bag belonging to Mr. T. B. Pohath Kehelpannala.
8. Detail of, showing hamsa paṭṭuva, four borders, and braid edging. The innermost border is an interesting development of pala peti; the large border, havaḍiya, the two narrow borders would be called gal-bindu or gal-piyum.
9. Detail of large bag, belonging to the Ekneligodas. Four borders and braid binding. The large liya vela border filled with buttonhole stitch.
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PLATE XXXIII. 1, 2, 3. Garā-yakshaya costume, a devil dancer’s dress. Colombo Museum. Blue and white appliqué on red material.
4. Embroidered napkin. Daḷadā Māligāva. Centre of fine lace-like drawn thread work, and embroidery in red and blue, alike on both sides. 23 1/4 inches square.
5. Embroidered napkin. Daḷadā Māligāva. Centre embroidered with a Pali verse in praise of a king; border an elaborate plait design. 13 1/4 inches square.
6. Centre of a large betel-bag.
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PLATE XXXIV. DUMBARA MATS. Dumbara mats (kalala) made of dyed niyanda (‘bowstring’ hemp) fibre. Made by Kinnara caste mat-weavers. The process is explained in text, p. 243. Mat-weavers at work are shown in Pl. IV. Names of patterns shown in the margin. Modern work by Hūrikaḍuva Maḍigē Hēnavala Galkoṭa-gedara Puñciya and Hūrikaḍuva Maḍigē Koṭagāvatte-gedara Lapiya of Hūrikaḍuva. Size of larger mat, 66 x 26 1/2 inches. Author’s collection.
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PLATE XXXV. IVORY.
1. Kava-kaṭuva, ivory compasses. Length 6 1/4 inches. Author’s collection.
2. Gira-pāṭṭuva. Fragment of ivory carving, purpose unknown. Very fine work representing parrots with necks entwined (gira-pāṭṭuva). Collection of Mr. P. E. Pieris, C.C.S.
3. Fragment of carved ivory, purpose uncertain. Very fine work, very dark with age, perhaps earlier than seventeenth century. Perhaps part of a fan. Median panel carved and pierced liya vela, with sina mala flowers; liya pata border and centre. Signs of metal fittings or rivets distinct in centre. The ends adapted to fit into other pieces. Outer surface curved, and hollowed within, tapering slightly to each end; hence cannot be a book cover. Possibly one of a pair of centre plates for a fan, somewhat similar in form to that shown in Plate XLII., 2. Length 11 1/4 inches. Author’s collection.
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4. Carved ivory from base of a temple door jamb (said to be from Ridi Vihāra door, Pl. XXXVIII, 1). Very elaborate *liya pata* work. Height 9¼ inches. Colombo Museum collection.
5. *Doraṭu pala rāpaya*, guardian deity from a temple door jamb. Height of plaque 10⅜ inches. Colombo Museum collection.
6. *Doraṭu-pala-rāpaya*, guardian deity from a temple door jamb. Dimensions of plaque 11⅛ × 3⅜ inches. The right hand especially fine. Very old example. Author’s collection.
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PLATE XXXVI. IVORY.
1. Ivory figure of king, in full dress: *aṭa-mula-toppiya* (*mal-gaha* missing), *bō-heṭṭaya* with *mante*, *bō-paṭiya*, and trousers, and jewellery. The cane is now missing. Height of figure 5⅞ inches. Colombo Museum collection. 2, 3, 4. Ivory figures of Kandyan ladies, wearing *heṭṭaya* with *mante*, *hēlaya* variously arranged, and jewellery. Height of tallest figure 4⅔ inches. Colombo Museum collection. *Cf.* Davy, ‘Travels in Ceylon,’ Pl. 4.
5. Ivory figure of Kandyan chief, wearing *vaṭa-toppiya*, *heṭṭaya* with *mante*, and *tuppoṭiya* with *paṭiya*. Same scale. Colombo Museum collection. *For explanation of costume see text, pp. 32-35.*
6. Bone jewel-box, silver-mounted. Flat severe carving, suited to material. Silver mounting in ‘Indo-Portuguese’ style. Outside measure 5¾ × 3⅜ × 2½ inches. Author’s collection.
7. Ivory jewel-box, silver-mounted and finely carved, with turned feet. Outside measure 12 × 8 × 4½ inches. Property of Sir Everard Im Thurm.
8. Turned ivory jewel-box, with incised lines, circles and dots, filled with red lac. Diameter 3¼ inches. Author’s collection.
9. Ivory jewel-casket, carved, with silver fittings. Lid in one piece. Height 4⅜, length 6⅝ inches. Lent by Messrs. Don Theodoris. The three boxes, shown in figures 6, 7, and 9 show some European influence in the form and fittings.
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Fig. 9, photo by Messrs. Skeen & Co.
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PLATE XXXVII. IVORY. 1, 2, 3, 4. Ivory handles of knives. Author’s collection.
1. Turned handle, ornamented with incised circles filled with red lac.
2. Most usual type, with *liya pata* carving.
3. *Serapeṇdiya* head.
4. Simple form with leaf-like scroll.
5. *Pot-kambiya*, book-cover. *Liya vela* centre panel, *eka poṭa lanuva*, and *pala peṭi* border and moulding. Measures 4½ × 2½ inches. Property of an ex-Āracci at Horagone. 6, 7, 8, 9. Fan handles. Turned ivory, ornamented with incised lines and circles, filled with red lac. The small pieces above (missing in 7 and 8) are fixed at the top of the actual fan. Lent by A. R. Casse Lebbe.
10. *Uḍakkiya*, ivory drum frame, Colombo Museum, lent by Mr. P. E. Pieris, C.C.S. Height 7⅛ inches, diameter 4⁷⁄₁₆ inches.
11. *Horaṇǣva*, ivory oboe. Ornamented with incised lines and circles, filled with red lac. The mouth-piece and bell are of brass or bronze. The reed is placed at the end of a narrow metal tube, next to a flat metal plate (missing in this example), against which the lips are pressed without pressure on the reed itself. This specimen is apparently pierced in four holes only, but this is due to its consisting of two separate pieces or joints, one of which was turned upon the other at the time of photographing, thus concealing the three other holes. Colombo Museum collection. Length 13 inches. [The nalava or flageolet is an instrument much less often seen; it consists entirely of ivory without metal fittings or reed].
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PLATE XXXVIII. IVORY.
1. Doorway of store-room (?) at Ridi Vihāra. Jambs and lintel overlaid with ivory and ebony, probably the finest example of such work in Ceylon. Dancing figures and asana kaḍa at base of jamb on each side; liya vela and pala peti on jambs; pañca nari geṭa in centre of lintel, supported by lions within liya vela frames. Eighteenth century work, probably of the time of Kīrti Śrī. The wooden threshold (paḍi-kaṇḍa) is carved in the usual manner. Remains of painting on plastered wall.
2. Detail of above; lower part of jamb, showing asana kaḍa, and commencement of liya vela band.
4. Detail of above, showing pala peti moulding and liya vela band on jamb of door.
3. Ivory panel, probably part of a door jamb. Nāri-latā-vela design. Measures 6 ⅞ × 1 ⅜ inches. Author’s collection.
5. Ivory panel, pierced and carved with flower (sina mala), lion (simha), and serapendiya. Perhaps from a door jamb. Measures 6 ⅞ × 2 inches. Author’s collection.
6. Veli-pata, ivory style used by Buddhist priests when teaching writing in pansala schools, as described on pp. 49, 186. Length 6 ⅜ inches. Modern work. Author’s collection.
7. Pot-kambiya, pierced and carved ivory book cover, with ivory button (pot-sakiya).
8. Piece of carved ivory, purpose unknown, perhaps part of a fan. Elaborate and very finely carved liya pata and sina mala work. Length 4 ⅛ inches. Author’s collection. Contrast Figs. 8 and 9, one is rich, the other rococo.
9. Ivory box, gold mounted. Modern Low-country work. Debased, inorganic and over ornamented style, deeply undercut. Subject, makara toraṇa with four devas; degraded forms, and riotous liya pata borders.
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PLATE XXXIX. IVORY COMBS.
1. Panāva, ivory comb, carved and pierced. Figure of a dēvi seated on throne, holding branches; attendandant dancers, in kuṇḍi-rakkan and arimbuva frame. Width 5 inches. Kandy Museum collection.
2. Panāva, bone comb. Two hamsayō, affronted, with tree of life, in kuṇḍi-rakkan and arimbuva border. Measures 3 ¼ × 2 ⅛ inches. Author’s collection.
3. Carved and pierced ivory panel, perhaps a panā-kaṭuva, or central part of a broken comb. Very fine example of nāri-latā figure. Measures 6 ⅛ × 4 inches. Colombo Museum collection.
4. Panāva, ivory comb, remarkable and unique form. Poor design of liya pata repeated in pierced and carved work. Measures 3 ⅝ × 5 inches. Colombo Museum collection.
5. Panāva, ivory comb. Genre subjects: woman and child, woman and baby, lovers. Dresses painted red and black stripes. Observe old-fashioned manner of doing the hair on one side (also in figures 8 and 9). The carved figures within pierced liya vela frame. Measures 4 3/8 x 3 1/2 inches. Colombo Museum collection.
6. Panava, ivory comb. Large plain form. Measures 5 1/2 x 3 7/8 inches. Author's collection.
7. Pana-katuva, central part of broken comb. Figure of a devi, seated on throne, holding branches, with attendants. Colombo Museum collection.
8. Panava, ivory comb. Standing figure of a woman, holding camara, supported by two hamsayo. Liya pata ‘crockets,’ arimbuva and kundi-rakkan frame. Reverse shows back of figure. Lent by A. R. Casse Lebbe.
9. Panava, ivory comb. Figure of dancer, with liya vela panels. Measures 2 7/8 inches square.
10. Panava, ivory comb. Central lotus, with liya pata and arimbuva frame. Lines coloured. Measures 5 1/4 x 4 inches. Colombo Museum collection.
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PLATE XL. IVORY AND HORN.
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1. Ivory panel, probably a ‘pana-katuva,’ or central part of double comb with teeth broken and subsequently removed. Figure of a devi seated on throne, and holding branches. Kundi-rakkan and arimbuva border. Colombo Museum collection.
2. Veli-pata, ivory style used by Buddhist priest in pansala schools for teaching writing. Length 6 7/8 inches. Kandy Museum collection.
3. Ivory dice, pasaka, pahada kahuru, for game of chaupai or pacisi. Engraved circles inlaid with lac indicate the numbers, 6, 5, 4, 3. Length 3 1/2 inches. Kandy Museum collection.
4. Panava, ivory comb. Double comb, obverse and reverse carved alike, with hamsa pattuva, and pair of birds supporting. Compare hamsa pattuva with Fig. 20, p. 85, in both cases the reduced ‘tree of life’ between the affronted animals is clearly recognizable. Measures 4 1/4 x 4 1/2 inches. Kandy Museum collection.
5. Doratu-pala-rupaya, figure of a deva from a vihara door jamb. Figure in traditional divine costume, holding a camara; arimbuva border. Panel measures 9 1/4 x 3 1/2 inches. Colombo Museum collection.
6. Silver-mounted ivory arm-ring. Diameter 4 inches. Colombo Museum collection.
7. Ivory sannas box, containing gold sannasa. Poor silver mounting. Length 17 1/4 inches. Maha Devale, Kandy.
8. Kan-henda, ivory ear-pick. Finely carved serapendiya. Length 3 1/2 inches. Author's collection.
9. Kan-henda, ivory ear-pick. Poorly carved. Length 2 3/4 inches. Author's collection.
10. Kan-henda, ivory ear-pick. Well carved with ‘pine-apple’ type of ornament. Length 3 inches. Author's collection.
11. Panava, plain ivory comb. Width about 3 1/2 inches. Author's collection.
12. Large horn comb, pierced and inlaid with ivory. Hamsa pattuva design, with four heads (of serapendiya?). Measures 5 5/8 x 4 3/8 inches. Author's collection.
13. Panava, horn comb, pierced work, with nari lata figure, within arimbuva border. Length 5 1/8 inches. Kegalla Kacceri.
14. Panava, horn comb. Measures 3 1/2 x 2 1/2 inches. Author's collection.
15. Behet-karakaya, pill box; turned horn.
16. Behet-karakaya, pill box; turned horn.
17. Behet-karakaya, pill box. Carved horn, silver mounted, with ivory lid. Remarkable variety of pala peti border carved on lower part of box. Length 4 inches. Colombo Museum collection.
18. Folding knife, horn handle. Length of handle 4 1/4 inches. Colombo Museum collection.
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MISCELLANEOUS OBJECTS.
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1. *Śaṅkha*, chank (shell) trumpet, engraved and inlaid with red lac, mounted in brass, damascened silver. The metal mounting terminates in a finely wrought *śerapendiya*, the legs clasped, an extension of the tail passing round the mouth of the shell and ending in a large scroll. The tongue has the form of a *sina mala*, and is pierced, perhaps for suspension. The eyes are rubies. The shell itself is engraved with *liya vela*, *arimbuva*, *pala peti*, *sina mala* and other designs, inlaid with red lac. Total length 10 inches. Said to have been made for Narēndra Simha, and given to a temple in Uḍanuvara. Author’s collection.
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2. *Sesata*, ceremonial processional fan, the long handle not shown. Red velvet, with gold and silver thread, passed over cords, and appliqué of green velvet within certain areas thus delimited. The obverse is of blue velvet, with sun, moon, and stars. Diameter 34 inches. Mahā Dēvāle, Kandy.
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3. *Kinissa*, ladle. Bowl of silver, very finely wrought; handle of ivory with man’s figure, elaborate *liya pata* ornament, and *simha* head (approaching *śerapendiya* in form, but with characteristic snout). A very fine example, but not a ‘sacrificial ladle’ as described, ‘Journal of Indian Art,’ Vol. X., Pl. 86, and p. 57 (‘The Elephant in Industry and Art,’ by F. H. Andrews); probably dedicated to a temple, or may have been used in the Palace. Length 1 foot, 6 inches; diameter of bowl 5 1/4 inches. Museum of Science and Art, Indian Section, South Kensington. For ordinary examples see Pl. XIII.
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4. *Oliṇḍa kolombuva*, game board, with characteristic bent legs. Top measures 14 3/4 × 8 3/8 inches. Author’s collection. For other examples see Pl. XII.
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PLATE XLII. MAHĀ DĒVĀLE AND DAḶADĀ MĀLIGĀVA PLATE.
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1. Silver hanging lamp of very fine design and workmanship. Ornament mainly *pala peti*. Height 11 inches, diameter 13 1/2 inches. Daḷadā Māligāva.
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2. *Ran-vaṭaha-pata*, round gold fan. An offering dedicated by Kīrti Śri to the Tooth Relic. Gold, set with cabochon sapphires. The border is thus actual ‘*gal-binduva*.’ Length 17 3/8 inches. Daḷadā Māligāva.
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3. *Dalumura taṭuva*, or ceremonial tray. Gold, set with cabochon sapphires. Diameter 13 5/8 inches. Daḷadā Māligāva. Dedicated to the Tooth Relic, it is said, by the mother of Kīrti Śri.
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4. *Keṇḍiya*, water vessel for ecclesiastical purposes. Plain silver. Height 11 1/2 inches. Mahā Dēvāle, Kandy.
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5. *Pacca kusalāna*, ‘emerald goblet’ (for sandal-wood paste). Bowl of black stone (not ‘emerald’), gold mounted and set with rubies, except four corner stones of the foot, which are sapphires. ‘*Gal-bindu*’ rim, with ‘*sina-mala*’ pendants. Height 2 inches. Used by Rājadhi Rāja Simha, and dedicated by him to the Mahā Dēvāle after a victory at Gurubēbile. Mahā Dēvāle.
c38.87
Photographs by A. K. COOMARASWAMY, by the kindness of Mr. C. B. Nugaveḷa, Diva Nilame of the Daḷadā Māligāva, and Mr. A. Ratvatte, Basnāyaka Nilame of the Mahā Dēvāle, Kandy.
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OBJECTS OF BRASS AND SILVER.
1. *Riḍi peṭṭiya*, silver jewel box. Very fine old example in a pure style. The flattened stem of the *liya veḷa* ornament recalls similar treatment at Barāhat. Height 9, diameter 8 inches. Property of Maḍuvanvela Raṭēmahātmaya.
2. Brass jewel box, ‘Indo-Portuguese’ style. Measurement, 8 × 5 × 4 inches. Probably Low-country work. Colombo Museum collection.
3. Brass door-handle and rose. Diameter of rose 5 inches. Gaḍaladeṇiya Vihāra.
4. Brass jewel or betel-leaf box. Probably Tamil work. Ornament, two peacocks affronted, and *liya veḷa*; a form of *pala peti* border. Colombo Museum collection.
5. Small silver box, under side showing engraving (*iri veḍa*). ‘Acanthus’ and ‘pine-apple’ type of design, possibly showing Renaissance influence. Size of box, 3 × 2½ inches. Author’s collection.
6. *Amba*, brass mango; set with jewels. From a Pattini Dēvāle. Length 20½ inches. Collection of Mr. P. E. Pieris, C.C.S. This mango is also described and illustrated in ‘Spolia Zeylanica,’ V., 141 (1908). The birds, however, are rather peacocks than *garuḍas*.
7. Brass door-handle and rose, key and key-plate. Diameter of rose about 6½ inches. Laṅkātilaka Vihāra.
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PLATE XLIIIA. MISCELLANEOUS METAL WORK.
1. *Keṇḍiya*, water vessel for ecclesiastical use. Copper, neck and lid set with cabochon garnets. Gem set border round neck shows well the gem set origin of the *gal-bindu* pattern. Elaborate *pala peti* borders on body, and *liya pata* chasing on spout. Height 9½ inches to top of lid. Riḍi Vihāra.
2. *Veḍi-bēt-karakaya*, powder horn. Horn, mounted in copper, silver plated, with filigree ornament. Length 5¼ inches. Author’s collection.
3. Brass-mounted wooden box, ‘Indo-Portuguese’ style. Outside measuses 6¼ × 4¼ × 2½ inches. Author’s collection.
4. The ‘*Jaya Saka*,’ or chank of victory dedicated by Śrī Rājadhi Siṃha to the Mahā Dēvāle after a victory at Gurubēbile over the Dutch. Mounted in gold, in order, it is said, that no other lips should be set to it. Length 7 inches. Mahā Dēvāle, Kandy.
5. Key and key-plate, Asgiriya Vihāra, Kandy.
6. Door handle with rose, Asgiriya Vihāra. Partly shown also in Fig. 5.
7. Bolt of a damascened *narissa yatura* (bar-lock), Riḍi Vihāra. The last is of the flat variety, with hinged hasp (not shown); it ends in a ‘*kibihi*’ (lion) head, and has another on the top of the hasp.
8. *Veḷ-peṭṭiya*, cane basket; with brass fittings. Property of Maḍuvanvela Raṭēmahātmaya.
c38.90
PLATE XLIV. OBJECTS OF BRASS, COPPER AND BRONZE.
1. *Sērak-kale*, brass table for taking rice. Patterns: ‘continuous branch’ (elementary form), cable, double spiral. Height 6½, diameter of top 7 inches. Colombo Museum collection.
2. *Aṅkusa*, elephant-goad used by attendant on foot. Brass, with double iron point (half missing, but in any case not visible in side view) proceeding from *śerapēndiya* head. Lacquered wooden handle, 5 or 6 feet long, top only shown in figure. Length from socket-rim to apex 12¾ inches. Property of Mr. T. B. Paraṇatella.
c38.91
3. Bronze elephant bell, with *bo*-leaf and triangle (*bo*-leaf type) ornament. Diameter of mouth 8 inches. Colombo Museum collection.
4. Brass lamp, in shape of a bird. Tail to beak 7 inches. Colombo Museum collection.
5. Brass lamp with *hamsa*. Probably Tamil work. Height 9½ inches. Colombo Museum collection.
6. *Killoṭaya*, lime-box. Copper throughout. Diameter 4¾ inches. Author’s collection.
7. *Pan-kuḍuva*, lantern. Pierced brass. Gaḍalaḍeṇiya Vihāra.
8. Key of vihāra door, iron, brass mounted. Maḍuvanvela Vihāra. Reduced.
c38.92
PLATE XLV. OBJECTS OF BRASS, BRONZE AND IRON.
1. Bronze mould for the gold state shoes (*miriveḍi sangala*, p. 33) of King Narēndra Simha. Made by the Maṅgalagama artificers, in whose possession it remains. Length 11 inches. ? Renaissance influence in the ornament.
2. *At-pandama*, hand cresset; with peacock (*moṇara*) bracket. Property of Ammiṭiyagoḍa Baṇḍāra.
3. *At-pandama*, hand cresset; with lion (*simha*) bracket. Diameter of bowl 8½ inches. Property of Maḍuvanvela Raṭēmahātmayā.
4. Brass kettle. Length of horizontal part of handle 5½ inches. Property of Ammiṭiyagoḍa Baṇḍāra. ? Dutch influence in the shape; but not necessarily.
5. *At-pandama*, hand cresset; with laced bracket and turned wood handle. Length 2 feet. Colombo Museum collection.
6. *Sērak-kale*, brass table for taking rice (see p. 32). Note the patterns—triangle, chevron, simple form of ‘continuous branch,’ double spiral, *pala peti*, *gal binduva*, etc. Height 8½ inches. Property of Mr. G. S. Saxton, C.C.S.
7. *Pandama*, small bronze standing lamp of ancient pattern; compare with Cunningham, ‘Mahābodhi,’ Plate XXVIII. Length 10 inches. Property of Mr. T. B. Paraṇātella. Perhaps Tamil.
8. *Veya*, adze; steel, damascened silver. Width of blade 3½ inches. Modern, property of Sir Everard Im Thurm.
9. Bronze elephant bell. Diameter of mouth 4½ inches. Lent by A. R. Casse Lebbe.
10. *Tel-kulava*, oil vessel for filling and replenishing coconut oil lamps. Spout in form of *śerapendiya* head. Height about 1 foot. Karagastalāva Vihāra, Sab. 11, 12. *Pan-keṭi*, mat-weavers’ knives. The blade is used for cutting projecting ends of grass, the point for plaiting. From Balaṅgoḍa. Length 10½ inches. Author’s collection.
13. *Kurakkan-keṭṭa*, sickle for reaping kurakkan. Balaṅgoḍa.
14. *Dē-keṭṭa*, ordinary sickle for reaping rice. Wooden handle, brass mounted, blade with punched ornament, pointed, serrate on inner edge. Length from tip to insertion about 13 inches.
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