Image title: Sri Lanka: Costumes

English text:

Costumes in change — Costumes are an indicator of the inherited cultural characteristics. We have only literary evidence together with some of the ancient paintings, artifacts and sculptures in order to understand the nature of the costumes that prevailed in the historic period. According to the sources, the common people had worn attires of simple design. This simplicity was backed by the requirement of easy living in a tropical environment. As the paintings in Sigiriya show, during the fifth century, females dress was only confined to their lower garment. An ornament which was used to cover the lower part of the body of the females called minimevula is frequently mentioned in the ancient literary records. There is no indication of a upper garment even in the male figures represented in the sculptures of the contemporary period. Only the females and males of the elite class adorn with ornaments in their upper part of the body. Literature also mentions a dress called uturu saluva worn by the ordinary people

The Traditional costumes of the elite class of Sri Lanka were changed due to foreign influence. European inspiration, on the one hand and the South Indian inspiration on the other are explicit in this regard. Somana, lansolu, kabakuttuva, saluva, shirt, socks and skirts are among the costumes introduced by Portuguese to Sri Lanka. The cloth (redda) and jacket (hattaya) which are popular among the females of the rural areas in Sri Lanka are a local development of the Portuguese kabakuruttuva. The Dutch tradition had not much influence upon the costumes in Sri Lanka. However the trousers, ties and coats introduced by the British still prevail as a social symbol of dignity. Besides, the attire of the Kandyan elites and the ordinary people of the 17th Century, were considerably influenced by the South Indian traditions. The tuppottiya and kavaniya worn by the contemporary Kandyan elites were the attire of the Nayakkar elites of South India. Osariya, the costume of the Kandyan elite class females was a mixed local form of two South Indian items called ohoriya and selai. Saron, the common dress of the present day males in Sri Lanka has a Malay origin.

A female with an European attire (a late 19th century painting from Kataluva viharaya of Galle District

Sinhala text (not proofread):

ඇඳුම් පැලඳුම්වල සංක්‍රාන්තිය — ඇඳුම් ආයිත්තම් ආවේණික සංස්කෘතික ලක්ෂණ පිළිබිඹු කරන දර්ශකයකි. ඉතිහාසයේ ඈත වකවානුවලදී ශ්‍රී ලාංකික ජනතාව කෙබඳු ස්වරූපයකින් යුතු ඇඳුම් පැලඳුම් භාවිත කළේද යන කරුණ ගැන අපට තිබෙන්නේ සාහිත්‍යමය වාර්තා සහ චිත්‍ර මූර්තීන් මගින් පිළිබිඹු කරන සාක්ෂි පමණකි. ඒ අනුව ඓතිහාසික යුගයේදී මෙරට සාමාන්‍ය ජනතාව ඉතා සරල ආකෘතියකින් යුත් ඇඳුම් පැලඳුම් රටාවකට හුරු වී සිටියහ. මෙම සරලතාව ජනනය වන්නේ නිවර්තනශීලී පරිසරයක පහසුවෙන් ජීවත්වීමේ අවශ්‍යතාව පදනම් කොට ගෙනය. ක්‍රිස්තු වර්ෂයෙන් පස්වන සියවසේදී මෙරට ප්‍රභූ ස්ත්‍රීන්ගේ ඇඳුම යටිකය වැසුනු ආවරණයකට පමණක් සීමා වූ බව එසමයේ ඇඳි සීගිරි චිත්‍ර මගින් පෙන්වා දෙයි. කාන්තාවන් සිය යටිකය ආවරණය කිරීම සඳහා භාවිත කළ මිණිමෙවුල පිළිබඳව පැරණි සාහිත්‍ය කෘතිවල නිරන්තරයෙන්ම සඳහන් වේ. සමකාලීන මූර්තිවල දක්නට තිබෙන පිරිමි රූපවලද උඩුකය වැසූ ඇඳුමක් දක්නට නැත. මෙසමයේ ප්‍රභූ පැලැන්තියට අයත් පිරිමින් සහ ස්ත්‍රීන් උඩුකය සැරසීම සඳහා විභූෂිත ආභරණ පැලඳි අතර සාමාන්‍ය වැඩිහිටි පිරිමින් උඩුකය ආවරණය කිරීම සඳහා භාවිතා කළ උතුරු සළුව නම් වූ රෙදිකඩ ගැන සාහිත්‍යයේ සඳහන්ය.

අඩුම තරමින් මෙරට ප්‍රභූන් පැලැන්තියේ සම්ප්‍රදායික ඇඳුම් පැලඳුම් වෙනස්වීමකට ලක්වන්නේ විදේශ බලපෑමේ හේතුවෙනි. එක් අතකින් යුරෝපීය අභාසයද තවත් අතකින් දකුණු ඉන්දීය ආභාසයද එහිදී ඉස්මතුව පෙනේ. පෘතුගීසීන් විසින් මෙරටට හඳුන්වා දෙන ඇඳුම් අතර සෝමනය, ලන්සෝලුව, කබාකුරුත්තුව, සළුව,කමිසය,බාච්චුව, කලිසම, මේස් සහ සාය ආදී දේ දක්නට තිබේ. ශ්‍රී ලංකාවේ ග්‍රාමීය කාන්තාවන් අතර ප්‍රචලිත ඇඳුම වූ රෙද්ද සහ හැට්ටය පෘතුගීසි කබාකුරුත්තුවේ දේශීය විකාශනයකි. ශ්‍රී ලංකාවේ ඇඳුම් පැලඳුම් වෙත ලන්දේසි ජාතිකයින්ගෙන් එතරම් බලපෑමක් ඇති නොවීය. නමුත් බ්‍රිතාන්‍ය ජාතිකයින් විසින් හඳුන්වාදෙන ලද කලිසම්, ටයි, කෝට් ඇතුළු ඇඳුම් ප්‍රභූත්වය පෙන්නුම් කරන සංකේත ලෙස අඛණ්ඩව වර්තමානය තෙක් පැවතේ. මේ අතර 17 වන සියවසේදී උඩරට ප්‍රභූන්ගේ සහ සාමාන්‍ය ජනතාවගේ ඇඳුම් පැලඳුම් වෙත මහත් බලපෑමක් ඇති කරන ලද්දේ දකුණු ඉන්දියාවෙනි. එවක මෙරට ප්‍රභූන්ගේ ඇඳුම වූ තුප්පොට්ටිය සහ කාවනිය දකුණු ඉන්දීය නායක්කර් ප්‍රභූ ඇඳුමයි. සිංහල ප්‍රභූ කාන්තාවන්ගේ ඇඳුම වූ ඔසරිය දකුණු ඉන්දීය ඔහොරිය සහ සෙලායි යන ඇඳුම් වර්ග දෙකේ සම්මිශ්‍රණයෙන් තනා ගත් දේශීය ස්වරූපයකි. වර්තමානයේ මෙරට සාමාන්‍ය පිරිමින්ගේ පොදු ඇඳුම වූ සරම මැලේ ප්‍රභවයකින් යුක්තය.

යුරෝපීය ඇඳුමින් සැරසුන කාන්තාවක් (19 වන සියසසේ සිතුවමක්, කතළුව විහාරය, ගාලු දිස්ත්‍රික්කය

Transcription:

ændum pælandumvala saṅkrāntiya — ændum āyittam āvēṇika saṅskrutika lakṣaṇa piḷibiḅu karana darśakayaki. itihāsayē ǣta vakavānuvaladī śrī lāṅkika janatāva kebandu svarūpayakin yutu ændum pælandum bhāvita kaḷēda yana karuṇa gæna apaṭa tibennē sāhityamaya vārtā saha chitra mūrtīn magin piḷibiḅu karana sākṣi pamaṇaki. ē anuva aitihāsika yugayēdī meraṭa sāmānya janatāva itā sarala ākrutiyakin yut ændum pælandum raṭāvakaṭa huru vī siṭiyaha. mema saralatāva jananaya vannē nivartanaśīlī parisarayaka pahasuven jīvatvīmē avaśyatāva padanam koṭa genaya. kristu varṣayen pasvana siyavasēdī meraṭa prabhū strīngē ænduma yaṭikaya væsunu āvaraṇayakaṭa pamaṇak sīmā vū bava esamayē ændi sīgiri chitra magin penvā deyi. kāntāvan siya yaṭikaya āvaraṇaya kirīma sandahā bhāvita kaḷa miṇimevula piḷibandava pæraṇi sāhitya krutivala nirantarayenma sandahan vē. samakālīna mūrtivala daknaṭa tibena pirimi rūpavalada uḍukaya væsū ændumak daknaṭa næta. mesamayē prabhū pælæntiyaṭa ayat pirimin saha strīn uḍukaya særasīma sandahā vibhūṣita ābharaṇa pælandi atara sāmānya væḍihiṭi pirimin uḍukaya āvaraṇaya kirīma sandahā bhāvitā kaḷa uturu saḷuva nam vū redikaḍa gæna sāhityayē sandahanya.

aḍuma taramin meraṭa prabhūn pælæntiyē sampradāyika ændum pælandum venasvīmakaṭa lakvannē vidēśa balapǣmē hētuveni. ek atakin yurōpīya abhāsayada tavat atakin dakuṇu indīya ābhāsayada ehidī ismatuva penē. prutugīsīn visin meraṭaṭa handunvā dena ændum atara sōmanaya, lansōluva, kabākuruttuva, saḷuva,kamisaya,bāchchuva, kalisama, mēs saha sāya ādī dē daknaṭa tibē. śrī laṅkāvē grāmīya kāntāvan atara prachalita ænduma vū redda saha hæṭṭaya prutugīsi kabākuruttuvē dēśīya vikāśanayaki. śrī laṅkāvē ændum pælandum veta landēsi jātikayingen etaram balapǣmak æti novīya. namut britānya jātikayin visin handunvādena lada kalisam, ṭayi, kōṭ ætuḷu ændum prabhūtvaya pennum karana saṅkēta lesa akhaṇḍava vartamānaya tek pævatē. mē atara 17 vana siyavasēdī uḍaraṭa prabhūngē saha sāmānya janatāvagē ændum pælandum veta mahat balapǣmak æti karana laddē dakuṇu indiyāveni. evaka meraṭa prabhūngē ænduma vū tuppoṭṭiya saha kāvaniya dakuṇu indīya nāyakkar prabhū ændumayi. siṅhala prabhū kāntāvangē ænduma vū osariya dakuṇu indīya ohoriya saha selāyi yana ændum varga dekē sammiśraṇayen tanā gat dēśīya svarūpayaki. vartamānayē meraṭa sāmānya pirimingē podu ænduma vū sarama mælē prabhavayakin yuktaya.

yurōpīya ændumin særasuna kāntāvak (19 vana siyasasē situvamak, kataḷuva vihāraya, gālu distrikkaya

Transcription:

andum palandumvala sankrantiya — andum ayittam avenika sanskrutika lakshana pilibiḅu karana darshakayaki. itihasaye ata vakavanuvaladi shri lankika janatava kebandu svarupayakin yutu andum palandum bhavita kaleda yana karuna gana apata tibenne sahityamaya varta saha chitra murtin magin pilibiḅu karana sakshi pamanaki. e anuva aitihasika yugayedi merata samanya janatava ita sarala akrutiyakin yut andum palandum ratavakata huru vi sitiyaha. mema saralatava jananaya vanne nivartanashili parisarayaka pahasuven jivatvime avashyatava padanam kota genaya. kristu varshayen pasvana siyavasedi merata prabhu stringe anduma yatikaya vasunu avaranayakata pamanak sima vu bava esamaye andi sigiri chitra magin penva deyi. kantavan siya yatikaya avaranaya kirima sandaha bhavita kala minimevula pilibandava parani sahitya krutivala nirantarayenma sandahan ve. samakalina murtivala daknata tibena pirimi rupavalada udukaya vasu andumak daknata nata. mesamaye prabhu palantiyata ayat pirimin saha strin udukaya sarasima sandaha vibhushita abharana palandi atara samanya vadihiti pirimin udukaya avaranaya kirima sandaha bhavita kala uturu saluva nam vu redikada gana sahityaye sandahanya.

aduma taramin merata prabhun palantiye sampradayika andum palandum venasvimakata lakvanne videsha balapame hetuveni. ek atakin yuropiya abhasayada tavat atakin dakunu indiya abhasayada ehidi ismatuva pene. prutugisin visin meratata handunva dena andum atara somanaya, lansoluva, kabakuruttuva, saluva,kamisaya,bachchuva, kalisama, mes saha saya adi de daknata tibe. shri lankave gramiya kantavan atara prachalita anduma vu redda saha hattaya prutugisi kabakuruttuve deshiya vikashanayaki. shri lankave andum palandum veta landesi jatikayingen etaram balapamak ati noviya. namut britanya jatikayin visin handunvadena lada kalisam, tayi, kot atulu andum prabhutvaya pennum karana sanketa lesa akhandava vartamanaya tek pavate. me atara 17 vana siyavasedi udarata prabhunge saha samanya janatavage andum palandum veta mahat balapamak ati karana ladde dakunu indiyaveni. evaka merata prabhunge anduma vu tuppottiya saha kavaniya dakunu indiya nayakkar prabhu andumayi. sinhala prabhu kantavange anduma vu osariya dakunu indiya ohoriya saha selayi yana andum varga deke sammishranayen tana gat deshiya svarupayaki. vartamanaye merata samanya piriminge podu anduma vu sarama male prabhavayakin yuktaya.

yuropiya andumin sarasuna kantavak (19 vana siyasase situvamak, kataluva viharaya, galu distrikkaya

Automated Translation (not verified):

Transition in clothing — an indicator that clothing reflects specific cultural characteristics. We only have evidence of what kind of clothing the Sri Lankan people used in the distant periods of history reflected in literary records and paintings. Accordingly, during the historical period, the common people of this country were used to a very simple style of clothing. This simplicity is generated based on the need to live easily in a tropical environment. In the fifth century AD, the dress of elite women in Sri Lanka was limited to a veil that covered the lower part of the body. Ancient literature regularly mentions the minimeula used by women to cover their undergarments. Male figures seen in contemporary sculptures also do not have an upper body covering. Men and women belonging to the elite of this period wore jeweled ornaments to decorate the upper body, while the common adult men used to cover the upper body, the cloth called the Northern Salwa is mentioned in the literature.

At least the traditional clothing of the country's elite is undergoing a change due to foreign influence. On the one hand, the European influence and on the other hand, the South Indian influence are prominent there. Among the clothes introduced to this country by the Portuguese are somana, lansol, kabakuruttuwa, salwa, kamiza, bachchuwa, pants, socks and skirts. The redda and hattaya, a popular dress among rural women in Sri Lanka, is a local adaptation of the Portuguese kababruttu. The Dutch did not have much influence on Sri Lankan clothing. But pants, ties, and coats introduced by the British have continued to be symbols of aristocracy. Meanwhile, in the 17th century, South India had a great influence on the clothing of the upper country elite and the common people. At that time, thuppottiya and kavaniya, which was the dress of the elite in this country, was the elite dress of South Indian Nayakkar. Osaria, which was the dress of Sinhalese elite women, is a local style made from a combination of South Indian Ohoria and Zelai. Sarama, the common dress of ordinary men in Sri Lanka today, has a Malay origin.

Tamil text (not proofread):

ஆடை மற்றும் ஆபரணங்களின் மாற்றம் — ஆடைகளும் ஆபரணங்களும் கலாசாரத்தில் இயற்கையாய் அமையப்பெற்ற விசேட குணங்களைக் காட்டிக்கொடுக்கும் சான்றுகளாகும். வரலாற்றில் முதற் பகுதிகளில் இலங்கை மக்கள் எவ்வாரான ஆடைகளையும் ஆபரணங்களையும் அணிந்தனர் என்பதைப் பற்றிய தகவள்கள் எமது இலக்கியங்களிளும், அறிக்கைகளிளும், ஓவியங்களிளும் மற்றும் சிற்பகலைகளிளும் கிடைக்கும் சான்றுகளில் இருந்து மட்டும் கிடைக்கப்படுகின்றது. அதன்படி புராதனயுகங்களில் இந்நாட்டின் சாதாரண மக்கள் ஆடம்பரமற்ற மிக எலிய முறையில் ஆடை அணிந்தனர் எனத் தெரிய வருகிறது. இதில் அடிப்படையாக நிலநடுகோடுக்கருகில் அமைந்திருக்கும் ஒரு நாட்டில் வசிப்பதற்காக பொருத்தமான விதத்தில் ஆடைகளையும் தேர்ந்தெடுத்ததை காணக்கூடியதாக உள்ளது. கிரிஸ்துவுக்குப் பின் 5ம் நூற்றாண்டில் இந்நாட்டில் பெண்கள் கீழ் ஆடை மாத்திரம் அணிந்திருந்தினர் என்பதை சீகிரியாவின் ஓவியங்கள் காட்டுகின்றன. பெண்கள் தன் இடுப்பை மூடுவதற்கு பாவித்த "மினி மெவுள" என்னும் ஆபரணத்தை பற்றி பழைய இலக்கிய புத்தகங்களில் எழுதியுள்ளன. சமகாலத்துச் சிற்பக்கலைகளில் ஆண் உருவங்களில் கூட கீழாடை மாத்திரம் அணிந்தவர்களாக காட்டுகின்றன. அக் காலத்தில் பிரமு- கர்கள் மத்தியில் ஆண் பெண் இருவரும் மேல் பகுதியை மூடுவதற்காக நேர்த்தியான ஆபரணங்கள் பாவித்தனர். அதே நேரம் வயது முதிர்ந்த ஆண்கள், மேலாடையாக ?உத்துரு சலுவ” என்று அழைக்கப்படும் ஒரு துனியை தோழில் போட்டிருந்ததை ஓவியங்களில் காணக்கூடியதாக உள்ளது

குறைந்தப் பட்சத்தில் இந்நாட்டின் பிரமுகர்களின் ஆடை வெளிநாடுகளின் ஆதிக்கத்தின் பிரகு மாற்றம் அடைய ஆரம்பித்தது. அதில் தென் இந்தியாவைச் சேர்ந்த அழுத்தங்கள் ஒரு புரத்திலும் ஐரோப்பியர்களிடமிருந்து கிடைக்கப்பட்ட செல்வாக்குகள் இன்னொரு புரத்திலும் காணக்கூடியதாக உள்ளது. போர்த்துகேயர்களால் இந்நாட்டிற்கு அறிமுகப்படுத்திய ஆடைகளாக 'சோமனய, இலந்சோலுவ, கபாக்கோர்த்துவ, சால்வை, சட்டை, பாச்சு, காற்-சட்டை, காலுறை (மே ஜோடு), பாவாடை' ஆகியவற்றை காணப்படுகின்றன. இலங்கையின் கிராமத்து பெண்ணின் அண்றாட ஆடையாகிய துண்டும் சட்டையும் என்பது போர்த்துக்கேயரின் 'கபாகுருத்து' என்னும் ஆடையின் தேசீய உருவத்தின் பரிணாமம் ஆகும். இலங்கையர்களின் ஆடை மேல் ஓல்லாந்தரிடமிருந்து ஆதிக்கங்கள் எதுவும் ஏற்படவில்லை. ஆனாலும், பிரித்தானியர்களால் அறிமுகப்படுத்தப்பட்ட கழுத்து-அணி, மேல் சட்டை, காற்- சட்டை மற்றும் ஏனைய ஆடைகள் இப்பொழுது பிரமுகர்களின் அடையாளம் காட்டும் இலட்சினை குறிகளாக இன்று வரை பாவனையில் உள்ளன. இதற்கிடையில், 17ம் நூற்றாண்டில், மேல் நாட்டைச் சேர்ந்த பிரமுகர்களின் மற்றும் சாதாரண மக்களின் ஆடைகள் மீது தென் இந்திய ஆதிக்கம் கூடுதலாக காணக் கூடியதாக உள்ளது. அக்காலத்தில் இந்நாட்டுப் பிரமுகர்களின் ஆடையாகிய 'துப்பொட்டி மற்றும் காவணி' என்பது இந்திய நாயக்கர் வம்சத்தைச் சேந்தோரினுடைய தேசிய ஆடையாகும். சிங்களவரின் பிரமுகர்கள் இடையில் பெண்களின் ஆடையாகிய 'ஓஸரிய' என்பது, தென் இந்திய 'ஒஹொரி' மற்றும் 'செலாய்' என்ற ஆடை இருவகை சேர்த்து தேசிய உருவத்திற்கு அமைவான ஒரு மாற்றமே. தற்பொழுது இந்நாட்டின் ஆண்கள் சாதாரணமாக அணியும் 'சாரம்' என்பது மலே இணத்தின் மூலம் கொண்டுள்ள ஓர் ஆடையாகும்.

Transcription:

āṭai maṟṟum āparaṇaṅkaḷiṉ māṟṟam — āṭaikaḷum āparaṇaṅkaḷum kalācārattil iyaṟkaiyāy amaiyappeṟṟa vicēṭa kuṇaṅkaḷaik kāṭṭikkoṭukkum cāṉṟukaḷākum. varalāṟṟil mutaṟ pakutikaḷil ilaṅkai makkaḷ evvārāṉa āṭaikaḷaiyum āparaṇaṅkaḷaiyum aṇintaṉar eṉpataip paṟṟiya takavaḷkaḷ ematu ilakkiyaṅkaḷiḷum, aṟikkaikaḷiḷum, ōviyaṅkaḷiḷum maṟṟum ciṟpakalaikaḷiḷum kiṭaikkum cāṉṟukaḷil iruntu maṭṭum kiṭaikkappaṭukiṉṟatu. ataṉpaṭi purātaṉayukaṅkaḷil innāṭṭiṉ cātāraṇa makkaḷ āṭamparamaṟṟa mika eliya muṟaiyil āṭai aṇintaṉar eṉat teriya varukiṟatu. itil aṭippaṭaiyāka nilanaṭukōṭukkarukil amaintirukkum oru nāṭṭil vacippataṟkāka poruttamāṉa vitattil āṭaikaḷaiyum tērnteṭuttatai kāṇakkūṭiyatāka uḷḷatu. kiristuvukkup piṉ 5m nūṟṟāṇṭil innāṭṭil peṇkaḷ kīḻ āṭai māttiram aṇintiruntiṉar eṉpatai cīkiriyāviṉ ōviyaṅkaḷ kāṭṭukiṉṟaṉa. peṇkaḷ taṉ iṭuppai mūṭuvataṟku pāvitta "miṉi mevuḷa" eṉṉum āparaṇattai paṟṟi paḻaiya ilakkiya puttakaṅkaḷil eḻutiyuḷḷaṉa. camakālattuc ciṟpakkalaikaḷil āṇ uruvaṅkaḷil kūṭa kīḻāṭai māttiram aṇintavarkaḷāka kāṭṭukiṉṟaṉa. ak kālattil piramu- karkaḷ mattiyil āṇ peṇ iruvarum mēl pakutiyai mūṭuvataṟkāka nērttiyāṉa āparaṇaṅkaḷ pāvittaṉar. atē nēram vayatu mutirnta āṇkaḷ, mēlāṭaiyāka ?utturu caluva” eṉṟu aḻaikkappaṭum oru tuṉiyai tōḻil pōṭṭiruntatai ōviyaṅkaḷil kāṇakkūṭiyatāka uḷḷatu

kuṟaintap paṭcattil innāṭṭiṉ piramukarkaḷiṉ āṭai veḷināṭukaḷiṉ ātikkattiṉ piraku māṟṟam aṭaiya ārampittatu. atil teṉ intiyāvaic cērnta aḻuttaṅkaḷ oru purattilum airōppiyarkaḷiṭamiruntu kiṭaikkappaṭṭa celvākkukaḷ iṉṉoru purattilum kāṇakkūṭiyatāka uḷḷatu. pōrttukēyarkaḷāl innāṭṭiṟku aṟimukappaṭuttiya āṭaikaḷāka 'cōmaṉaya, ilancōluva, kapākkōrttuva, cālvai, caṭṭai, pāccu, kāṟ-caṭṭai, kāluṟai (mē jōṭu), pāvāṭai' ākiyavaṟṟai kāṇappaṭukiṉṟaṉa. ilaṅkaiyiṉ kirāmattu peṇṇiṉ aṇṟāṭa āṭaiyākiya tuṇṭum caṭṭaiyum eṉpatu pōrttukkēyariṉ 'kapākuruttu' eṉṉum āṭaiyiṉ tēcīya uruvattiṉ pariṇāmam ākum. ilaṅkaiyarkaḷiṉ āṭai mēl ōllāntariṭamiruntu ātikkaṅkaḷ etuvum ēṟpaṭavillai. āṉālum, pirittāṉiyarkaḷāl aṟimukappaṭuttappaṭṭa kaḻuttu-aṇi, mēl caṭṭai, kāṟ- caṭṭai maṟṟum ēṉaiya āṭaikaḷ ippoḻutu piramukarkaḷiṉ aṭaiyāḷam kāṭṭum ilaṭciṉai kuṟikaḷāka iṉṟu varai pāvaṉaiyil uḷḷaṉa. itaṟkiṭaiyil, 17m nūṟṟāṇṭil, mēl nāṭṭaic cērnta piramukarkaḷiṉ maṟṟum cātāraṇa makkaḷiṉ āṭaikaḷ mītu teṉ intiya ātikkam kūṭutalāka kāṇak kūṭiyatāka uḷḷatu. akkālattil innāṭṭup piramukarkaḷiṉ āṭaiyākiya 'tuppoṭṭi maṟṟum kāvaṇi' eṉpatu intiya nāyakkar vamcattaic cēntōriṉuṭaiya tēciya āṭaiyākum. ciṅkaḷavariṉ piramukarkaḷ iṭaiyil peṇkaḷiṉ āṭaiyākiya 'ōsariya' eṉpatu, teṉ intiya 'ohori' maṟṟum 'celāy' eṉṟa āṭai iruvakai cērttu tēciya uruvattiṟku amaivāṉa oru māṟṟamē. taṟpoḻutu innāṭṭiṉ āṇkaḷ cātāraṇamāka aṇiyum 'cāram' eṉpatu malē iṇattiṉ mūlam koṇṭuḷḷa ōr āṭaiyākum.

Transcription:

adai marrum aparanangalin marram — adaigalum aparanangalum kalasarathil iyarkaiyay amaiyapperra viseda kunangalaig kattikkodukkum sanrugalagum. varalarril muthar paguthigalil ilangai makkal evvarana adaigalaiyum aparanangalaiyum aninthanar enpathaip parriya thagavalkal emathu ilakkiyangalilum, arikkaigalilum, oviyangalilum marrum sirpagalaigalilum kidaikkum sanrugalil irunthu mattum kidaikkappaduginrathu. athanpadi purathanayugangalil innattin satharana makkal adambaramarra miga eliya muraiyil adai aninthanar enath theriya varugirathu. ithil adippadaiyaga nilanadugodukkarugil amainthirukkum oru nattil vasippatharkaga poruthamana vithathil adaigalaiyum therntheduthathai kanakkudiyathaga ullathu. kiristhuvukkup pin 5m nurrandil innattil penkal kizh adai mathiram aninthirunthinar enpathai sigiriyavin oviyangal kattuginrana. penkal than iduppai muduvatharku pavitha "mini mevula" ennum aparanathai parri pazhaiya ilakkiya puthagangalil ezhuthiyullana. samagalathus sirpakkalaigalil an uruvangalil kuda kizhadai mathiram aninthavarkalaga kattuginrana. ag kalathil piramu- karkal mathiyil an pen iruvarum mel paguthiyai muduvatharkaga nerthiyana aparanangal pavithanar. athe neram vayathu muthirntha ankal, meladaiyaga ?uthuru saluva” enru azhaikkappadum oru thuniyai thozhil pottirunthathai oviyangalil kanakkudiyathaga ullathu

kurainthap padsathil innattin piramugarkalin adai velinadugalin athikkathin piragu marram adaiya arambithathu. athil then inthiyavais serntha azhuthangal oru purathilum airoppiyarkalidamirunthu kidaikkappatta selvakkugal innoru purathilum kanakkudiyathaga ullathu. porthugeyarkalal innattirku arimugappaduthiya adaigalaga 'somanaya, ilansoluva, kapakkorthuva, salvai, sattai, pachu, kar-sattai, kalurai (me jodu), pavadai' agiyavarrai kanappaduginrana. ilangaiyin kiramathu pennin anrada adaiyagiya thundum sattaiyum enpathu porthukkeyarin 'kapaguruthu' ennum adaiyin thesiya uruvathin parinamam agum. ilangaiyarkalin adai mel ollantharidamirunthu athikkangal ethuvum erpadavillai. analum, pirithaniyarkalal arimugappaduthappatta kazhuthu-ani, mel sattai, kar- sattai marrum enaiya adaigal ippozhuthu piramugarkalin adaiyalam kattum iladsinai kurigalaga inru varai pavanaiyil ullana. itharkidaiyil, 17m nurrandil, mel nattais serntha piramugarkalin marrum satharana makkalin adaigal mithu then inthiya athikkam kuduthalaga kanag kudiyathaga ullathu. akkalathil innattup piramugarkalin adaiyagiya 'thuppotti marrum kavani' enpathu inthiya nayakkar vamsathais senthorinudaiya thesiya adaiyagum. singalavarin piramugarkal idaiyil penkalin adaiyagiya 'osariya' enpathu, then inthiya 'ohori' marrum 'selay' enra adai iruvagai serthu thesiya uruvathirku amaivana oru marrame. tharpozhuthu innattin ankal satharanamaga aniyum 'saram' enpathu male inathin mulam kondulla or adaiyagum.

Automated Translation (not verified):

Change in Clothing and Ornaments — Clothing and ornaments are evidence of culturally inherent distinctiveness. Information about the clothing and ornaments worn by the people of Sri Lanka in the early part of history is available only from the evidence available in our literature, reports, paintings and sculptures. Accordingly, it is known that in the ancient times, the common people of this country dressed in an extravagant manner. In this it is seen that clothes are chosen in a suitable way for living in a country located near the equator. Paintings from Sigiriya show that in the 5th century AD, women in this country wore only undergarments. Old literary books have written about the ornament called "mini mevula" used by women to cover her waist. Even the male figures in contemporary sculptures are shown wearing only undergarments. At that time, among the dignitaries, both men and women wore fine ornaments to cover the upper part. At the same time, it can be seen in paintings that older men wore a cloth called "Uthuru Chaluva" on their shoulders as a top.

At least the attire of the dignitaries of this country began to change due to foreign influence. In it, the influences from South India are visible in one puram and the influences from Europeans in another puram. The clothes introduced to this country by the Portuguese include 'Somanaya, Ilansoluva, Kapakorthuva, Shawl, Shirt, Pachu, Wind-shirt, Socks (May Jodu), Skirt'. The turban and shirt, the daily attire of a Sri Lankan village woman, is an evolution of the national form of the Portuguese 'Kabakuruthu' dress. There were no influences from the Dutch on Sri Lankan clothing. However, the neck-tie, top-shirt, trouser-shirt and other garments introduced by the British are now in use as the emblems of celebrities. Meanwhile, in the 17th century, South Indian influence is increasingly visible on the clothing of upper country dignitaries and commoners alike. At that time, the dress of the dignitaries of this country, 'Thuppoti and kavani', was the national dress of the sentors of the Nayak dynasty of India. Among the Sinhalese dignitaries, the women's dress 'Osaria' is a change to the national image, combining the South Indian 'Ohori' and 'Chelai'. At present, 'Saram', which is worn by the men of this country, is a garment which is derived from the Malay tradition.

Gallery information:

These photos were taken at the Maritime Museum in Galle (Sri Lanka) which include objects recovered from the 2nd century B.C. Godawaya shipwreck. The Maritime Museum is housed in Galle's historic Dutch warehouse (built in 1671) and opened its doors on May 9, 1992. The Maritime Archaeology Museum is serving as a centre of education for various groups of visitors and researchers of Southern region of Sri Lanka.