Temple architecture in Ceylon (Sri Lanka)

Apart from the ruins of ancient cities, the remains of stūpas or Dagobas some of immense size, in certain instances of colossal proportions, all Constructed of solid brickwork, but with approaches and appertenances [appurtenances?] of granite in which pillars predominate, are the characteristic architectural manifestations of the earlier period. As regards the historical productions as the aboriginal people of the island were a primitive race, the Veddahs who wor-shipped among their deities the ‘god of rock’ (Gale Debiya) gives us impression that the early simhalese [sinhalese] were adepts at rock architecture. They were also great sculptors as is proved by the high quality of a colossal statue, of King Parākrama Bāhu at Weligama carved out of the living rock:

Anurādhāpura Remains.

The structures are composed entirely brick and are dissimilar in character from those in other Buddhist countries: An interesting example of this class is the Ruwanwaeli Dagoba at Anurādhāpura of which the foundations were laid by King Duttagāminī in the 2nd century B.C. Its grand ceremonial is vividly described in the Mahāvaṃśa, the ancient chronicle of Ceylon. Percy Brown has reproduced it and the reader is advised to read it there for his information.

Ceylon has also a tradition of Vāpī-kūpa-taḍāgas and its abulation tanks (pokana) or bathing places along with innumerable examples of style-baths were some of the side-currents of architecture. As regards the order of the pillars, they are characteristic of the emphatically peristylar character of the building art as is evident in their capital.

In the words of Brown:

“The shafts of the columns were invariably monolithic, without bases, generally square or octagonal in section and carved out of gneiss. Socketed into the upper surface was the puhul, or capital, of a design which has no counterpart outside Ceylon. The central portion of this feature is a double flexured vase-shaped element hexagonal in section and usually left plain. Contrasting with the simplicity of this unadorned member is the richly carved and substantial abacus which it supports, and the deep necking below with ornamental mouldings between (Plate CXXVII). There is no mistaking this “order”, as it is expressive of the style, and although in some instances it varies in detail, the principle of its design in this early period is as indicated above. In a later phase of the art occasionally a more exuberant type was devised in the form of lotus pillars, as in the Nissanka Malla Mandapaya, but this was a development of the twelfth century, when the style was becoming more florid (Plate CXXVIII).”

Further the stair way-approaches to the principal monastic building are indicative of the most remarkable architectural genius of siṃhalese [sinhalese] artists. The later phase of the simhalese art is very much influenced by the architectural style of the Tamil country. The Andhras, the Pallavas and Cholas, all exerted their influence over the island. In the eleventh century the country came under the ruthless subjugation of Cholas.

Accordingly, the,

“Examples of this architectural importation from the mainland may be at Polonnaruwa in the two temples of Śiva Devale of the eleventh century, related clearly to a somewhat earlier Chola temple at Srinivasanalur in the Trichinnopoly District”.

Another building of note is the Watadage or “Hall of the Relic” The same high standard of handiwork may be seen in other and lesser structures at Polonnaruwa, such as some of the “pokanas”, including the famous “Lotus Bath”, and the architectural gem known as the “Floral Altar” all of which serve to prove that in the twelfth century under enthusiastic patronage, the arts of Ceylon attained their consummation”. Political conditions brought an end to this high maturity as Polonnaruwa was abandoned at the close of 13th Century. The arts suffered only to be revived when Kandy became the seat of Singhalese monarch from 1592 to 1815. It did not produce any great art.