• ‘Ketayam Kalaa Aaramaya’ documents Sri Vijayaramaya’s artistic treasures

The Sri Vijayaramaya in Ambalangoda is known for its carvings, murals, and terracotta and oil paintings, paying obeisance to the Buddha through the arts. Known as the ‘Ketayam Pansala’ or Murals Temple, the temple’s history, story, and artistic treasures have been documented in a book titled ‘Ketayam Kalaa Aaramaya: Buddhopahaara Saundarya Kalaa Aashcharyaya’ or ‘Carving Arts Temple: An Obeisance with an Artistic Miracle’.

Published in 2023, the book was written by A.W. Senanayake and translated by D.C. Ranatunga, with the book carrying both the Sinhala writing and the English translation. The photography contained in the book is by Sarath Perera and the design and layout are by Somachandra Peiris. The Vijayarama Purana Viharaya, Kaluwadumulla, Ambalangoda and the Sasana Abhiwurdhi Wardhana Society of the Buddhist Maha Vihara, Kuala Lumpur, Malaysia published the book.

A gift for the future

Speaking to The Daily Morning Brunch about the motivation behind publishing ‘Ketayam Kalaa Aaramaya’, Sri Vijayaramaya Chief Incumbent Ven. Dr. Weligoda Ariyadeva said that it was a way of preserving the temple’s treasures for future generations. He explained that preparing and publishing the book was no easy feat financially, but that it was important as it captures the value of the temple.

“People have been building temples throughout Sri Lanka’s history. However, none of the recent temples will go down in history, as they are all made of cement. There is no artistic element to them, and those that have been built with an artistic touch do so solely for publicity,” Ven. Dr. Ariyadeva shared.

However, Sri Vijayaramaya’s investment in the arts isn’t heavily publicised. “At our temple, you won’t even find a board or placard. It’s a valuable creation for the next generation.” The temple features wooden carvings and masks unique to the area, as well as terracotta designs, wooden panel paintings, and sculptures.

While moments from the Buddha’s life are depicted in the art, focus is also drawn to Buddhist political philosophy, both in Jataka Stories as well as in contemporary times. The architecture of the temple also stands out, and ‘Ketayam Kalaa Aaramaya’ aims at preserving these for the future. While a visit to the temple is definitely worth it, the book is also a valuable addition to any bookshelf.

Wooden carvings

The book begins with a short history of Buddhism, looking at how temples and monasteries came to be, first in India and then in Sri Lanka, with dwellings for monks or the Sangha in Sri Lanka traced back to King Devanampiyatissa, who began the practice with the arrival of Mahinda Thera in 247 B.C.

While temples have been built across the island since then, Sri Vijayaramaya in Kaluwadumulla dates back nearly 300 years. According to ‘Ketayam Kalaa Aaramaya’, visitors to the temple are greeted by a nuga tree, which creates an atmosphere of a silent monastery, despite the temple being located in a more urban setting. The temple also houses a statue of the Buddha meditating under a nuga tree.

The book then delves into the link between Buddhism or Buddhist places of worship and art, stating that the Sri Lankan artist has always been able to convert a rugged tree trunk into a pleasing aesthetic creation. “Wooden sculptures can be seen not only at the well-known Embekke Devalaya and Magula Maduwa in Kandy, but also at resting places such as the Panavitiya Ambalama.”

At Sri Vijayaramaya, devotees can worship statues of the 28 Buddhas, a practice since the time of Dipankara Buddha, with the statues at Sri Vijayaramaya carved in wood. The statue of Gautama Buddha is carved out of a single piece of jak wood, while the other statues are made out of sandalwood.

Meanwhile, the temple’s standing Buddha statue, carved using a single arjun or kumbuk trunk, is 15 feet long and depicts the Abhaya Mudra. “The standing Buddha image at Vijayaramaya is considered the tallest wooden statue in Sri Lanka,” the book states, adding that other statues in the temple depict different ‘mudra’ or hand gestures.

The disciples of the Buddha, such as Bakkula, Añña Koṇḍañña, Śāriputra, and Bhaddiya, are also carved in wood, along with deities like Natha, Sakra, Saman, and Saraswati.

In addition to these statues, the temple also showcases what Ambalangoda is most known for: masks. These add an element of folk culture to the temple.

Murals and paintings

According to ‘Ketayam Kalaa Aaramaya’, ancient Sri Lankans made a variety of items using burnt clay. This includes the murals and ‘vahalkada’ of Mihintale Kanthaka Dagoba. These burnt clay or terracotta murals can also be seen at the ‘Ketayam Pansala’, where all the murals are handmade and depict scenes like the birth of Prince Siddhartha, The Great Renunciation, and the arrival of Sanghamitta in Sri Lanka.

The temple also has a ‘Bodhi Ghara’ fence, representative of the golden cauldron in which Sanghamitta carried the sapling of the Bodhi tree to Sri Lanka. The murals around the bo tree at Sri Vijayaramaya are carved in brass and clay.

Moving on to the paintings at Sri Vijayaramaya, ‘Ketayam Kalaa Aaramaya’ explains that the temple has a variety of oil paintings done on margosa wood. Visitors can expect paintings depicting the moment Prince Siddhartha attained Buddhahood, Dhamma preachings, the ageing Buddha, and many others.

“At Vijayaramaya, Jataka tales are used in paintings to portray Buddhist political philosophy. Unconventional notions are used to illustrate the Buddhist values that lead to an affluent lifestyle of the masses,” the author notes. The paintings show the socio-economic impacts of inhumane leaders and repressive governments as well as the development that can be achieved through righteousness.

An artistic revolution

Towards the end of ‘Ketayam Kalaa Aaramaya’ is the story of Ven. Dr. Weligoda Ariyadeva Thero, who is described as the initiator of the temple’s artistic revolution and whose life is said to be as colourful as the temple.

Ven. Dr. Ariyadeva Thero was born in Godahena in June 1950. His father was a carpenter and farmer and the monk, before taking on an ascetic life, grew up among five brothers and two sisters. His parents influenced him significantly, and as a child, he played with the pieces of wood and sawdust in his father’s workshop, crafting and creating various items.

Ordained at the age of 13, Ven. Dr. Ariyadeva as a novice monk busied himself creating novel decorations for special occasions and poojas at the Sri Vijayarama Purana Viharaya. While excelling in his studies, the monk started submitting poems and articles for the Saddarmakara Pirivena school magazine, of which he later became chief editor.

Ven. Dr. Ariyadeva completed his first degree, a Bachelor of Arts, at the Vidyalankara University or the Kelaniya University in 1976, followed by a master’s degree from the same university. In 1989, he was awarded a scholarship for PhD research by the Indian government and completed a PhD in Buddhist philosophy from the Banaras Hindu University, India.

He also taught for several years, starting as a teacher at the Subadrarama Pirivena Institute, and later becoming a lecturer at the Ruhuna University in 1993. When he retired in 2018, he was the head of the Pali and Buddhist Studies Department and the professor of Buddhist philosophy.

The monk’s PhD thesis was published as a book titled ‘The Theory and Practice of Social Revolution in Early Buddhism’ and he has authored several other books, research papers, and poems.

“At Vijayaramaya, you don’t just find artefacts, sculptures, or paintings, but conceptual designs of the highest quality. This visionary looked beyond and created something magnificent,” the author writes in ‘Ketayam Kalaa Aaramaya’, adding: “May his obeisance steer him towards the supreme bliss of Sambodhi.”