Rediscovering Ridi Vihare

'Ridi Vihare – The Flowering of Kandyan Art' by SinhaRaja Tammita -Delgoda. A Stamford Lake Publication.

It was the old tradition to learn the languages in the village temple or in a nearby temple where a scholarly monk resided. Anyone who wanted to learn Sinhala and Pali would do so at the temple. Often it was the choice of the parents, not the children. In addition to the languages, they would of course learn the religion.

To hear of such traditions being followed today is rare but recently I met a young man who has done just this. Having studied all his life in England, SinhaRaja Tammita-Delgoda spent several months in 1997 at Ridi Vihare learning Sinhala and Buddhism from the monks.

The book he has authored, 'Ridi Vihare – The Flowering of Kandyan Art', he hopes would "repay a great debt of gratitude to the High Priest, Ven. Tibbotuwawe Sri Siddartha Sumangala (presently the Maha Nayaka of the Malwatte Chapter), his deputy Ven. Ratnapala Doranegama and the fraternity of the Ridi Vihare".

Recalling his experience at the temple, he says: "For over two millennia the Sangha have been the guardians of culture of this country and laymen have always gone to them to learn. In the spirit of these age-old traditions they took me in amongst them, looked after me and taught me. In their own gentle way, with unfailing tact and elegant courtesy, they taught me everything I know about the religion, the philosophy and the customs of the Sinhalese."

SinhaRaja was undoubtedly fascinated by what he saw at Ridi Vihare in the village of Ridigama (silver village) 19 miles out of Kurunegala. As he describes, it is a treasure trove of Sinhala art, wall-painting, architecture, ivory carving, wood and metalwork. Most of it belongs to the Kandyan period (1592-1815).

With two young photographers from Studio Times - Roshan Perret and Ben Samarasinghe, the author has turned out an attractive and interesting publication. It had been a tough task, as he relates in the preface. "Exhausting but ultimately very fulfilling days; we worked hour after hour inside dark, dank caves, lying flat on our backs for hours and crawling into nooks and crannies to make out blurred, long forgotten paintings and capture impossible angles." The result is a well thought out, authoritative piece of literature adding to the collection of fine material we have on our ancient art and culture.

After relating the early days, SinhaRaja details out the anatomy of the temple dividing it into the inner courtyard, the Maha Vihare and the Uda Vihare complex. He next discusses the paintings giving due recognition to the role played by King Kirti Sri Rajasinghe as the guardian and patriot of Buddhism. (There were five great royal temples at the time – Ridi Vihare, Medavala, Gangarama, Dambulla and Degaldoruwa).

SinhaRaja found the paintings in the different sections in Ridi Vihare to be varied. While it is austere simplicity at the Maha Vihare, in the Uda Vihare it is a blaze of colour and imagery. He says the decoration here is rich, splendid, and colourful, an exuberant glow of brilliant colours, red, yellow, gold and black. Almost every inch of available space is covered with colour and decoration. His vivid descriptions of the 'Sath Sathiya' – Buddha's Seven weeks after Enlightenment, 'Solosmsthana' – the 16 sacred places visited by the Buddha, and the 'Suvisi Vivarana' – 24 Proclamations which the Bodhisatva received from each of the 24 Buddhas are well illustrated.

In the chapter on the Art in Ivory, SinhaRaja mentions that the ivory inlaid doorway at Ridi Vihare is one of the largest and most spectacular ivory carvings to have survived in this country. He describes it as one of the richest and most magnificent examples of 18th century craftsmanship representing the culmination of a Golden Age of Kandyan art. The door was apparently a gift from the King.

SinhaRaja has an impressive academic record – M.A. in Medieval Studies (York) and a Ph.D History (London), and is a Fellow of the Royal Asiatic Society (Sri Lanka & UK). A simple, soft spoken individual, he has already made a mark in the literary field.

'Ridi Vihare' is his second publication for Stamford-Lake, the first being 'The World of Stanley Kirinde'. Soon we will read him in the Studio Times publication, 'Eloquence in Stone – The Lithic Saga of Sri Lanka'.

SinhaRaja mentions that no one who has worked on 'Ridi Vihare' asked for or received payment of any kind. All the royalties have been donated by him to the Ridi Vihare.

There is plenty to read in 'Ridi Vihare' along with superb photographs excellently printed at Stamford-Lake. A rich publication ideal for anyone's library.