No silver lining

By Dilrukshi Handunnetti

Neela-gala (Blue Gemstone) was a royal grant by King Kirthi Sri Rajasinghe to a silversmith with exceptional skill. Legend has it that the King often disguised himself as a commoner and visited nearby villages. During one such visit he is said to have stayed at the royal silversmith's abode. While the King slept, the silversmith identified the King's royal sword which was his own design, and recognized the stranger. To demonstrate his knowledge, he skilfully embedded a tiny blue sapphire in the King's toe.

Days later, the King asked the craftsman about any visitors he had recently entertained, and he had claimed he provided shelter to the king himself. To prove it, he mentioned the 'precious mark on the index toe'. Pleased with the intricate technique of Kiringappu, the king bestowed a 'gamwara' (land grant), 80 acres of paddyland to the craftsman in 1755. Legend has it that the King strummed the copper drums and declared 9,999 acres as the Neela-Gala Nindagam. 

Today, Neelawala lacks its fabled splendour. The village, which once created silver sensations is grappling with poverty. The villagers are still proud of their 'title name' and of their craft, but that does not quell their hunger pangs.

Navaratne is a seventh generation descendant of the fabled Neelawala craftsmen. Inside a dimly lit, tiny room we find him at work with a few surviving silversmiths. Others have long since abandoned the trade.

Navaratne's two brothers are creating the most exquisite 'bambu walalu' (barrel-shaped bangles). They proudly speak of the title- Sri Danthadhathu Makaradwaja Thisarana Sarana Mudali Dawunda Ratnawalli Navaratna Abharana Pahala Gedara.

Weeraratne was carefully cutting fine silver threads into tiny pieces and curving them into intricate semi-circles. Wickremeratne was busy heating a set of chokers. Sensing my question, he said: "You must heat it until smoke emanates. Or else black spots appear on the silver." 

They still use their humble tools, the vidina katuwa (piercing tool), 'dunu kiyatha' (small saw) and a 'sidurupatha' (to pass silver thread).

Beyond their artistry lies a tale of woe- their inability to keep tradition alive as the market for their products shrinks. They have tried diversification of their items. They have tried modern jewellery and trinkets, but nothing pays.

Adding to the burden is the price of raw material. Silver bars are imported from England. As the National Craft Council's imports are inadequate, the bulk is purchased from outside dealers at exorbitant cost. In the end, they can barely cover production costs.

Today, only Navaratne's family seriously practises their traditional occupation. Despite having over 20 registered craft families, they have ceased to practise their trade long ago.

"We cannot bear the market fluctuations because the raw material is expensive. We actually began creating modern jewellery, which seemed the easiest thing to do. Now there is a sudden swing towards traditional pieces, but we cannot find the market," lamented Navaratne, the main supplier of silver jewellery to the Kandyan Art Association, a body created for the preservation of Kandyan crafts and designs and to create a market for the craftsmen.

The bomb explosion at the Temple of the Tooth Relic also exploded their hopes. With Kandy fast becoming a barricaded town, tourists no longer haunt their usual places looking for local crafts. The craftsmen complain that Laksala has not purchased a single item from the Neelawala craftsmen for two long years- repercussions of the blast. And the Kandyan Art Association itself has reduced its purchases due to insufficient sales.

The story has no fairy-tale ending. These men plead for simple things- a better marketing network and to make a few places accessible- either by shifting showrooms to accessible places or by reducing some road-blocks. 

His face creased into a sad smile, Navaratne says in parting, "It's easy to talk about heritage, but difficult to preserve it. We are humble folk who love our trade. After us, there won't be craftsmen or the craft." 

Royal patronage

The artificer, dancer, wood carver and weaver were held in high esteem and there flourished a system of instructor and apprentice. The 'trade' was hereditary and exclusive. 

Ancient craft

The silversmiths, according to the ancient division of labour, belonged to the "Abharana Pattale (royal jewellery workshop). Traditional jewellery was made out of silver. It was a royal prerogative to wear gold. The jewellery symbolized the social and financial status of the wearer. Red, green and white stones were commonly used in jewellery. 

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