• Anura De Silva on the dragon float made for Vesak

Vesak observances at the Buddhist Maha Vihara in Brickfields, Malaysia were no simple affair. Kiosks lined the streets leading to the temple, where large crowds from various ethnicities gathered to give alms, make offerings, and listen to sermons. Vesak, celebrated in Malaysia on 22 May this year, was marked by various processions, where floats by different organisations and temples took to the streets. Among the floats this year was one by a craftsman from Sri Lanka.

Anura De Silva first made a float for the Vesak processions in Malaysia in 2023. The dragon float made last year was smaller and mainly featured the head of the dragon. However, this year, the dragon float featured its head and body. An article published in The Star quotes Sasana Abhiwurdhi Wardhana Society Honorary Secretary Tilak Leslie Jayawardena as saying the dragon float this year measured 10 m in length and 3 m in height.

The float was designed by Ven. Dr. Weligoda Ariyadewa of the ‘Ketayam Pansala’ or Vijayaramaya Purana Viharaya in Kaluwadumulla, Ambalangoda. It was Ven. Dr. Ariyadewe who got De Silva involved in the building of the float in Malaysia.

“I was provided with a lot of facilities at the Buddhist Maha Vihara in Malaysia, where the float was built. I had a good workshop and 2-3 talented craftspeople who helped me. I arrived in Malaysia on 29 April and worked on the float from 30 April to 22 May. The float was displayed in four processions on four days,” De Silva said.

He added that during his first visit to Malaysia, he saw a lot of performances and art that used Chinese design styles. This influence can be seen in this year’s float, he said, explaining that the float combines Chinese styles with Sri Lankan art and crafts in its design of the dragon.

While De Silva is now back in Sri Lanka, he said he hopes to make a float in Malaysia next year as well. If he receives an invitation to do so, De Silva hopes to take his Buddhist art with him. “In future, I would like to hold an exhibition of my Buddhist art in Malaysia. I just had this idea and plan on taking my art with me when I visit the country next year, if they invite me to make a float once again. I think it should be possible in collaboration with the Buddhist society there,” he shared.

De Silva works with the arts and crafts fulltime and has been studying the craft since he was a child. “My grandfather was an architect and was very artistic. I was my aunt’s son’s disciple, so this is a craft we’ve passed down the generations. I’m happy that I’m able to take this craft not only to various parts of Sri Lanka but also other countries,” he said.

Talking about significant work he has carried out, De Silva explained that Ambalangoda has a procession known as the Modara Devala Perahara. “This procession has been taking place for 80 years, and for the past 40 years, I’ve been making its name board and the ‘deva ratha’. In addition to this, I work with various presentations during the procession, like depictions of hell,” he said.

De Silva went on to say: “The newly-constructed ‘vahalkada’ or frontispiece at the Kataragama Temple was made by me. In India, I built a ‘Budhu geya’ in a Sarnath temple.”

While his skill has crossed borders, De Silva noted: “Sri Lanka is a strange land, where no matter what you do, there is rarely any recognition or appreciation, whereas in other countries, people appreciate the arts.”

He added that his son has learnt the craft so that it can continue in the family. “In future, there will be no one to work on crafts like this. Ambalangoda used to be a region rich in craftspeople, but today, I’m one of the last remaining in these crafts,” he said.

When asked if efforts have been made to protect crafts such as this, De Silva said that people haven’t come together as a community, although small societies have been formed. “However, if there is a strong community, we can share our knowledge and ensure the protection of these crafts.”

De Silva added: “We need to pass on our knowledge and expertise. If not, these crafts will die. We need to protect them. We need to protect Ambalangoda’s identity as an epicentre of crafts.”