Kala Korner by Dee Cee

From painting to writing

"An artiste need not be confined to a particular field even though he may feel he is well versed in that art. He should try his hand at others as well," Upasena says.

Upasena has been an artist for well over four decades. Many have been his experiences over the years. He has used the medium of painting to record his observations, thoughts and feelings over that long period. He is obviously happy that the son, Madhava Priyanath has taken after him and is fast becoming a talented artist. The young man studied at Shantiniketan and showed his skills when he exhibited some of his work with the father last year. Upasena himself did not give up painting after his illness. He fights on and continues his art. 

It was only the other day I had a close view of his efforts at the Dalada Maligawa where, in the new wing, he has done 22 large murals depicting the history of the Sacred Tooth Relic. It's a fine artistic record. One can not only learn a great deal but also enjoy the whole story presented visually.

Having enjoyed his paintings over the years, I am looking forward to reading his first attempt at using the pen in place of the brush.

In the limelight

The next day he was felicitated by Sarvodaya for his enormous contribution to Sinhala theatre over the years.

Henry is particularly happy that even after four decades his pioneering effort, 'Kuveni' still gains recognition. 

It was only the other day that the English version of his script on the popular drama 'Kuveni', translated by Lakshmie de Silva shared this year's Gratiaen Award. Henry wrote 'Kuveni' in the early sixties and the play was first staged in 1963. 

At the 1963 State Drama Festival, the play won the awards for Best Script and Best Production. Manel Jayasena who played Kuveni was adjudged Best Actress. 

Henry is keen to revive 'Kuveni'. "But will we get an audience?" he ponders. Back from his sick bed, he revived 'Apata Puthe Magak Nathe'. 

Yet the response has been most discouraging. "Just two shows in Colombo and one in the outstations. So is it worth all that effort?" he asks.

A mother's subtlety and a son's brightness

By Ruhanie Perera

Swineetha, whose styles and techniques have evolved over the years is today a refined and professional artist. "I'm at the point where having experimented, I have decided on the way I want to do things. I continue developing and evolving on that line." Says Nimantha, "In comparison to my mother I feel amateurish, but what I do is what I do and I'm happy with that!"

Where Swineetha uses subtle, softer colours like blues, browns and grey tones sometimes painting in different shades of just one colour, Nimantha ("the experimental one" quips his mother), prefers a "whole load of bright colours." Using oranges and reds makes me feel good," he says.

Their collection of paintings covers a multitude of subjects. As Nimantha puts it, "Other than abstract we paint just about everything."

Having studied art at the College of Fine Arts, Swineetha went on to become a teacher. Today, after 35 years of teaching art she says, "Art is my entire life - paints and children make up my life". She still does a lot of reading on art and constantly attends exhibitions, in addition to organising 'Hands on Canvas', a series of exhibitions for her students. As for her inspiration, "There are some artists who have had a great impact on me," she says, naming David Paynter. 

In contrast Nimantha simply draws inspiration from "Ammi". "If it wasn't for her I would have given up art a long time ago," he admits, adding that at this point he has no intention of making art more than just a hobby. Sithuvam Seya, which is Swineetha's ninth exhibtion and her third joint exhibition with her son, opens on July 20 and continues till July 22 at the Lionel Wendt Art Gallery.

History through inscriptions

Book review

This attractive and insightful volume is the end of an odyssey, the realisation of a dream. Sixty years ago, a modest and self- effacing graduate from the University College who had obtained a History Honours Degree (London External) was awarded the coveted Hilda Obeyesekere Fellowship to research on institutions of ancient Ceylon from inscriptions. 

It was no easy task for Lakshman Susantha Perera, an old boy of S. Thomas' College, Mt. Lavinia (where the teaching of Sinhala was not a priority in the colonial era), to master the language of ancient Sinhala inscriptions as well as the Pali language, learn the Brahmi script, arrange all published and unpublished inscriptions in chronological order, analyse their contents and extract their essence. After six years of hard labour, Perera successfully completed the task, which ran to well over 1000 pages and for which he was awarded the PhD Degree (the first ever given by the University of Ceylon). He was also appointed as a permanent lecturer in the Department of History. However, try as he may, he could not find a publisher for his work, despite its importance, due to its specialised nature and extraordinary length. Perera, a young assistant lecturer of modest means did not have the resources to undertake the publishing himself.

The thesis in three massive volumes lay in the Ceylon Room of the University of Peradeniya for the past half a century. Regular usage by generations of readers had led to the deterioration of the paper, to the point where it became necessary for the library to prepare a microfiche version.

A few years ago, the author, now an octogenarian living in retirement in the UK made one more attempt at publishing and making known to the world, the fruits of his labour which are very relevant in the current Sri Lankan context. At this stage the author turned to the International Centre for Ethnic Studies in Kandy whose Executive Director, Prof. K.M. de Silva and Prof. Sirima Kiribamune, Senior Research Fellow were very keen on ensuring its publication, knowing the reputation that the dissertation enjoyed as a first rate study on vitally important aspects of the history of Sri Lanka.

Despite the numerous unanticipated problems that arose, such as typing 1500 crumbling yellowed pages that could not be scanned, and annotating and updating the references to inscriptions used in the text after a period of 50 years, Prof. Sirima Kiribamune completed the laborious task ably assisted by Dr. Piyatissa Senanayake of the Department of Archaeology of the University of Peradeniya. While the text has remained faithful to the original, the refinements to the footnotes have been done with the professional competence usually associated with Kiribamune's work. Volume I which has just been released deals with the Institutions of Ancient Ceylon from Inscriptions dating from 300 BC to 830 AD. Two volumes will hopefully follow to complete the author's story.

Study of institutions

The narration of events and the study of the personalities behind such events have always interested the historian and chroniclers, whereas the structure of society within which those events are expressed or through which the personalities emerged have not received the same attention. L.S. Perera in this meticulous study of ancient Sri Lankan institutions has taken them to mean any organisation, pattern or behaviour or thought through which the life of a society in its political, economic, religious and social aspects express itself. The institutions of any society are inter-related and affect each other. Thus kingship and the vihara system while being inextricably interwoven would inevitably reflect the economic patterns of society which in turn would be shaped by the administrative structure and needs of kingship. 

The study of institutions from inscriptions is primarily an examination of all the available data given in the inscriptions bearing on every aspect of life revealed in them, and this is what the author has achieved, rigorously applying the highest standards of critical historical research. 

Political and cultural unity 

Reading through the author's masterly analyses of the earliest inscriptions, one is struck by the fact how remarkably they authenticate even in minute details the Mahavamsa which has been condemned by some as myth and legend. Not only can outstanding rulers like Devanampiya Tissa, Vattagamani and Dutthagamani be identified in the inscriptions but even one of the latter's warriors mentioned in the Mahavamsa, Senapati Nandimitta could be identified with a good deal of accuracy. After a lengthy discussion of royal titles given in the inscriptions, our author concluded over 50 years ago, that there was only one line of sovereign rulers in the island who in the inscriptions used the title maharaja. There were rajas in the periphery of the kingdom but the Anuradhapura kings seem to have had an acknowledged supremacy over the island probably dating from the time of Dutthagamani. 

Noteworthy is Perera's perception that while monastic Buddhism spread rapidly throughout the island, Buddhist ideas permeated society at a much slower pace. Nevertheless, he does conclude, that with time Sri Lankan culture soon became synonymous with Buddhist culture. As Kiribamune, in her introduction states, L.S. Perera stands out as cautious and sober historian who has been guided solely by the data before him. Most of his interpretations are still valid and cannot be lightly set aside.

Centralisation of royal power

The Vallipuram gold plate has been the subject of much controversy in recent times, but our author has drawn attention to it to show the gradual process of centralisation of royal power with the maharaja at Anuradhapura, and the rajas in the periphery, superseded by provincial administrators. The gold plate was discovered in 1936 and was found with other antiquities in Vallipuram in the Vadamarachchi division of the Jaffna Peninsula, beneath the foundation of an ancient structure on land belonging to the Vishnu Temple. The inscription records that in the reign of Maharaja Vasabha (67-111 AD), Ameti Isigiraya was governor of Nakadiva or Nagadipa as Jaffna was then known. The author concludes that sovereign power had extended to the Jaffna Peninsula which was therefore a province under the maharajas of Anuradhapura. The script and language of the inscription is the same as those found in Vasabha's inscriptions elsewhere in the island.

Tamil inscriptions

Though the Mahavamsa refers to many Tamil invasions and migrations, very little of their movements can be traced from the inscriptions. The Tamil Householders Terrace inscription is one of the very few which refers to Tamils in the period. 

These are the earliest documents in which the term Dameda (Pali Damila) has been met with. There were a few Tamil Buddhist monks in Ceylon as the term Dameda Samana, Tamil monk, suggests. 

This inscription shows that they preferred to use the Sinhala language of the time and that their names did not differ from the names found in other inscriptions e.g., Sujata and Tissa. However, as the author concludes, they were conscious that they were a separate people for they called themselves Dameda. Among them was a mariner and a merchant which agrees with what we know of early Tamils from other sources.

Conclusion

The author's systematic approach dealing with each phase in a chronological sequence, under various headings, political, economic, social and religious, gives a clear picture of the development that took place over the centuries; the evolution of kingship, and the king's role as 'Defender of the Faith,' and the development of the sangha from a cave dwelling, amorphous community to a more complex, compact one, controlling large economically independent establishments, the growth of local government institutions, the irrigation system, taxation, the use of money, diet and many other facets; each of which is sufficient to open new vistas of historical research for an interested student. 

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