The multi-faceted contribution of female figures at the entrances of ancient Sri Lankan built environment

Abstract

Introduction

The methodical beginning of Sri Lankan built environment goes back to the early historical period and the most of the buildings of this era belong to the elite class of the society. The monastic architecture and royal palaces portray noteworthy architectural tradition of that period. The entrances of these monastic complexes and their buildings have been ornately decorated with a multitude of designs and the efficacy of female figures in these entrances is outstanding amongst them. The objective of this study is to investigate the multi-facetted contribution of female representation and social attitudes towards women within historical societies. Furthermore, to recognize the place attributed to women by the society, in comparison to the 'male' and understanding the nature and the position of women in history. This study also attempts to understand how females lived in changing social contexts in historical Sri Lanka.

Methodology

The growing body of data retrieved from archaeological collections of information from primary sources, mainly sculptured art from early historic period to late medieval period has helped us to construct this study. Sculptured art from Isurumuniya, Abhyagiri, Jetavana, Nalanda Gedige, Manankattiya, Lankatilake image house and Watadage Polonnaruwa, Yapahuwa and Uda Aludeniya have been investigated for this study. Observation of places where female figures have been portrayed has also helped in putting this study together. We have also analyzed the nature of contextualizing women in art representation.

Results

A range of entrances have evidenced the efficacy of female figures. They are the door frames, door posts and door steps of buildings. The figure of Lakshmi is idealized as the Goddess of wealth, both materialistic and spiritual (Dhal: 1978) had been frequently employed for this. Female figures were carved at the entrance of several Buddhist monasteries in Sri Lanka, beginning from the Middle Historic period at Issurumuniya and at Late Historic sites such as Nalanda gedige and at Yapahuwa. (Karunarathna: 2010). The figure of goddess Lakshmi in Indian Buddhist sculpture is depicted at Sanchi, where it is constantly repeated on the gateways of the Great Stupa. Similarly, she had been replicated at Bodhgaya, Bharhut and Amaravati. (Brown: 1959). The goddess Lakshmi also occurs in entrances of Jain architecture at Udayagiri. It demonstrates the fact that Sri Lankan artists emulated the concept from India and replicated it here. (Karunarathna: 2010) Furthermore, that Indian imitation reflects in Sri Lankan Stupa Ayakas and it also could be considered as a certain kind of an entrance to the stupa. The ayakas of Jetavana and Abhyagiri positioned female in the lower panel in small sizes, whereas the male figures were seen positioned on the upper panels, in large figures (Karunarathna: 2008). The guard stones (muragala) and balustrades (korawakgala) Have been ornated with different profiles of women. When female is associated with male figure in guard stones she has given a less important place. The male figures are highlighted by female figures who venerate male figures. The role of the woman, as a person who guards the entrance to a building or a monastery, had been considerably depicted in the above mentioned creations. The guard stone of Manankattiya with women carrying a "pot" (Puma ghata), and nagarajini depicted on the balustrade of Lankatilaka image house at Polonnaruwa are examples. Conclusion Different purposes of utilizing female figures in ancient art forms could be recognized. The protection, prosperity and a decoration are vividly emphasized among them. The Indian influence is undoubtedly evident. On some occasions when women were portrayed with men, these female figures were given an inferior place (Karunarathna: 2008)

The guard stones (muragala) and balustrades (korawakgala) Have been ornated with different profiles of women. When female is associated with male figure in guard stones she has given a less important place. The male figures are highlighted by female figures who venerate male figures. The role of the woman, as a person who guards the entrance to a building or a monastery, had been considerably depicted in the above mentioned creations. The guard stone of Manankattiya with women carrying a "pot" (Puma ghata), and nagarajini depicted on the balustrade of Lankatilaka image house at Polonnaruwa are examples.

Conclusion

Different purposes of utilizing female figures in ancient art forms could be recognized. The protection, prosperity and a decoration are vividly emphasized among them. The Indian influence is undoubtedly evident. On some occasions when women were portrayed with men, these female figures were given an inferior place (Karunarathna: 2008) and were placed in a secondary position in relation to the 'male' figures.

References

Brown, P. (1959). Indian Architecture, fourth edition, Bombay: D. B. Taraporevala sons and co. private Ltd. Dhal, U.N. (1978). Goddess Lakshmi: Origin and Development, New Delhi: Oriental Publishers. Karunarathna, Dulma, (2008). The Female in Art Representations in Historical Sri Lanka, IST Century A.C. to 12Th Century: Social Archaeological Study (Unpublished M. Phil thesis) Department of Archaeology, University of Peradeniya. Karunarathna, Dulma, (2010). The efficacy of Lakshmi figure as a multicultural symbol in Ancient Indian and Sri Lankan Art forms, (Abstract) The Society of South Asian Archaeology, 3 rd International Congress, Abstract Volume, Centre for South Asian Studies, University of Kelaniya, Sri Lanka (p.53). Karunarathna, Dulma, (20 10). The function of Lakshmi figure in Ancient Sri Lankan Art forms, (Paper presentation and Abstract) Postgraduate Research Symposium 2010, Abstract Volume, Faculty of arts, University of Peradeniya. (PP.1-3)