Those living in Sri Lanka have for centuries been inundated with the cultures and traditions of many races and beliefs. As a result, religious art might sometimes seem mundane and unexceptional. Our busy existence has transformed us into creatures of shot attention spans and flustered minds, the prey of abridged books and media sound bites. But for those who take a deep breath and shake off this jaded view of our environs, taking a fresh look at the traditions and expressions of Buddhist art can be both enjoyable for the senses and a spiritual experience.
On April 27, I had the good fortune to be at the opening of the latest exhibition of paintings by Gunasiri Kolambage at the Lionel Wendt. The exhibition aptly named 'Buddharaja' explores the rich tradition of Buddhist art in representing the Buddha. However, to fully understand the context of the works one must look back over the centuries to the kingdoms of North India where one of the great teachers of mankind preached his Dhamma of compassion and equanimity.
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| Pic by Rasika Surasena |
With the parinibbana or passing away of the Buddha, his followers were faced with a unique problem of how to give a point of focus to the feelings of devotion for the great teacher, whilst keeping true to the spirit of 'Anathma' as taught by him. This initial rejection of idolatry and its seeming restriction of the artists’ gamut was inversely one of the main impulses that nurtured a truly Buddhist art form.
Apart from the brief experimentation with naturalistic representation inspired by the Grecian influence, early Buddhist iconography took a minimalistic and esoteric form of expression.
From a plain stone block at the foot of a Bodhi tree representing the 'vajra asana', the diamond seat on which the ascetic Siddhartha gained enlightenment, simple representations of the 'sri pathula' etched on a stone block, to the 'Dharma chakra' or wheel of the law, the early icons of Buddhist art had the simple elegance of the teachings of the Master.
However, as the tradition evolved with the influence of Hindu art and the growing patronage of the state, in building monuments and temple complexes, artisans gradually incorporated decorative elements and motifs into their creations. Temples became centres of art accessible to all strata of society, with magnificent walls adorned with beautiful murals and intricate rock carvings. These became instrumental in fashioning the artistic temperament of the people.
This seeming dichotomy between Buddhist spiritualism and the social needs of Buddhist art was reconciled by the artists of the Theravada tradition by giving free rein to decoration for peripheral elements whilst keeping the central figure of the Buddha free of clutter and adornments. The artist, with a brief to serve both these social and spiritual functions, met the challenge by creating work that could endure the glance of the layman that craved pleasing form, to the meditative gaze of the spiritually inclined, who sought the deeper layers of meaning behind the facade.
This rich tradition, became an integral part of the collective psyche of the people. The pictorial representation of the heaven, earth and the nether regions, life stories of the Buddha, gods and demons gave body and form to the folk tales and birth stories. It was the visual representation of the greater Buddhist universe in which the spiritual and moral law was established. Maybe because of this fact, the tradition managed to endure through the tumultuous times of the last kingdoms into modern times.
The allusion to this rich storehouse of tradition is clearly apparent in Mr. Kolambage's work. He makes no qualms about borrowing the motifs and styles of Gandhara, Anuradhapura and Kandyan periods. In fact, he makes his influences and through them homages, clearly manifest. Focusing mostly on the image of the Buddha, the works employ a finely crafted modern visual style in their representation.
Surprisingly for an artist of his generation his digital art too shows a proficiency in this new medium that goes beyond simple experimentation. A bountiful palate brings a feeling of warmth and richness to the canvases, and the execution is confidently flamboyant as one would expect from a master craftsman.
But most of all, what struck me as I went through the 47 canvases was the sense of honesty that permeates them. He seeks no ivory tower of sophisticated rhetoric to obfuscate the viewer.
His warm remembrances of his own past, growing up in a rural environment, inform his vision, and he is comfortable in sharing that warmth. Staying true to the tradition of Buddhist art which was if anything inclusive, his works are both beautiful and accessible for the seeker of temporal beauty, yet hold deeper spiritual meanings expressed through subtle iconography, for the seeker of spiritual insight.
This exhibition by Gunasiri Kolambage is clearly a feast for the eye. But more importantly, in a fast world that leaves little space for personal reflection, these canvases offer a port of departure for a deeper exploration into the spiritual. |
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