Papers presented at the International Buddhist Conference, March ...

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cast themselves in the role of missionaries in India . Hence it is
clear that the civilisations of India and Sri Lanka followed lines of
historical development, which were both interdependent and
resonant though this has not been accepted by the ancient literary
traditions of both countries.
Besides these ancient literary interpretations, it is significant that
the early historians have also sometimes been shown to be
erroneous particularly when speaking of the facts on Indo-Sri
Lankan cultural relationship during the ancient period. This of
course is in the natural order of things. With the increasing volume
of new archaeological data and with more sophisticated techniques
of historical research, earlier beliefs can become out dated. Hence,
modern scholars will no doubt disagree with the early historian's
above periodisation of the history of the island and the
interpretations of the Indo-Sri Lankan cultural relations where the
293
discussions follow the pattern of the early chronicles . As a result,
modern scholars are inclined to view the history of Sri Lanka from
a different stance. Particularly historians today are looking more at
the inner dynamism, which shaped the history and culture of the
island and more importantly there is increasing evidence that the
cultural horizons of Sri Lanka extended far beyond the confines of
294
India.
However, as in the case of the overall history or the cultural history
of the island, it is evident that the situation is the same when
considering the artistic traditions of Sri Lanka too. The
descriptions given in the Mahavamsa are particularly important in
this respect. Accordingly, king Asoka is said to have sent to Sri
Lanka sixteen guilds of artisans with the sacred Bodhi tree in the
295
third century BC . Interestingly enough, this belief is recorded in
some of the land grant manuscripts of the medieval and late
medieval periods of Sri Lanka also. The information presented in
these, particularly in relation to the Nilagama generation of
painters is very important though the descriptions are legendary in
296
nature . Based on such random references it is generally believed
that it was the contact with Mauryan India and the enthusiasm for
the new faith of Buddhism that first inspired the Sri Lankan people
to creative activity in the fields of art, architecture and sculpture.
For instance, it is said that with the possible exception of a single
dolmen and three groups of cists there are no structural remains so
297
far brought to light that can be dated as pre-Buddhist remains . It
is also believed that the idea of using stone for building purposes
and rock cave abodes for monks was also introduced from
298
Mauryan India . Interestingly enough, due to this belief it is
evident that some writers have arrived at entirely wrong
conclusions too. For example, though nothing has been mentioned
regarding the representation of the life story of the Buddha in any
source of India or Sri Lanka during this period, some writers have
wrongly concluded that after Buddhism became established in Sri
Lanka, artists came from India, sent by King Asoka, to depict the
299
life of the Buddha.
At the same time, it is to be noted that many scholars have
expressed the view that a very close affinity can be seen between
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the extinct artistic traditions of the two countries also.
According to them, this close affinity is confirmed by the earliest
Sri Lankan sculptures found at Kantaka cetiya in Mihintale, which
are similar to the earliest school of Indian sculpture at Barhut and
301
Sanchi . It is also believed that one can notice the connection with
the mainland in sculptures now exhibited in the National Museum
in Colombo and the archaeological museums at Anuradhapura and
elsewhere in the island. Accordingly, these sculptures found in Sri
Lanka are in the Amaravati style, for instance the
Mahailuppallama image is in the style which is characteristic of the
standing Buddha images of Anuradhapura; there is no doubt that it
was fashioned in the Amaravati (Vengi) region and imported to Sri
302
Lanka . In addition, it is said that the fragments of Buddha images
in Amaravati style and in the marble distinctive of that school, have
also been found at other places in the island and a number of basreliefs
in this same marble, imported from the same source, have
303
been found at Anuradhapura and other sites . Besides, it is
believed that the bronze Buddha statue from Badulla is also not
very different from some of the metal images of Buddha of the
304
Amaravati School and the figure of the so-called king
Duttagamini from Anuradhapura too recalls contemporary
305
Amaravati models, as does the monolithic seated Buddha . It is
further assumed that under the influence of the mainland,
especially from the early Buddhist art of Amaravati, there are
beautifully proportioned guard stones, dwarfs, snakes, with three,
306
five or seven hoods, of exquisite workmanship at Anuradhapura.
In this context, it is noteworthy that there is another belief that the
Gupta imperial impulse was also as strong and enduring in its
307
effects as the Asokan imperial impulse . Consequently, it is
presumed that the influence of the Indian Gupta sculpture was felt
308
in the Isurumuniya elephant reliefs and the well-known relief of
the Isurumuni lovers and other sculptures found at the same
209
premises has the vigour and refinement of the Gupta period . In
addition to these artistic works of carvings and statues, it is a
common assumption among scholars that this period witnessed the
310
glory of classical Sanskrit literature too . Consequently, it is
believed that a highly rated Sanskrit work composed in Sri Lanka
by Kumaradasa known as the Janakiharana bears unmistakable
311
influence of Kalidasa's Raghuvamsa . Besides, it is believed that
carved on the face of a low cliff of granolithic boulders
overhanging a partly artificial tank at the site, we may observe
carvings in a 'pure Pallava style.' According to such critics, isolated
in a kind of niche is a relief of the sage Kapila, seated on the plains
of hell and not only are the proportions of the figure remarkably
close to the work at Mamallapuram, but the suggestion of the
form's emergence from the matrix of the rock is also in the same
293 W Geiger, Culture of Ceylon in medieval times, ed. Heinz Bechert, Wiesbaden, 1960,
pp.xxii-xiii.
294 Senaka Bandaranayake, “The periodisation of Sri Lankan history and some related
historical and archaeological problems,” Asian panorama: Essays in Asian history, past
and present, ed. KM De Silva and others, Vikas Publishing House, New Delhi, 1990,
p.5.
295 Mahavamsa, tr. W Geiger, Pali Text Society, London, 1934, chap.19; 1-4vv.
296 M Somathilake, An inquiry into the social status of the Buddhist mural painters of late
medieval period of Sri Lanka, Paper read at Jawaharlal Nehru University, 28th August
1999, pp.2-6.
297 S Paranavitana, “Civilisation of the early period: Religion and art,” University of
Ceylon History of Ceylon, ed. HC Ray and others, Ceylon University Press, Colombo,
Vol.I, pt. I, 1959, p.256.
298 Andreas Nell, “The influence of Indian art in Ceylon,” The influence of Indian art, ed.
F.H. Andrews, The India Society, London, 1925, p.146.
299 Argns John Tresidder, Ceylon: An introduction to the resplendent land, D Van
Nostrand co, Canada, 1960, p.199.
300 For further details please refer to M.D. Raghavan, India in Ceylonese history society
and culture, Indian Council for Cultural Relations, Asian Publishing House, New
Delhi, 1969, pp.94-113; Andreas Nell, “The influence of Indian art in Ceylon” The
influence of Indian Art, ed. F.H. Andrews, Delhi Printers Prakashan, Delhi, 1978.
301 S Paranavitana, “Civilisation of the early period: Religion and art,” University of
Ceylon History of Ceylon, ed. HC Ray and others, Ceylon University Press, Colombo,
Vol.I, pt. I, 1959, pp.264-265.
302 S Paranavitana, Sinhalayo, Lake House Investments, Colombo, 1967, p.18.
303 Ibid, p.18.
304 C Sivaramamurti, The art of India, (Translation of L’Art en Inde, 1974), Harry N
Abrams Publishers, New York, 1977, p.196.
305 Ibid, p.196.
306 Mulk Raj Anand, India in colour, Themes and Hudson, London, 1958, pp.75-76.
307 Andreas Nell, “The influence of Indian art in Ceylon,” The influence of Indian art, ed.
F.H. Andrews, The Indian Society, London, 1925, pp.145-151.
308 Mulk Raj Anand, India in colour, Themes and Hudson, London, 1958, pp.75-76.
309 S Paranavitana, “Civilisation of the period: Religion, literature and art,” University of
Ceylon History of Ceylon, ed. HC Ray and others, Ceylon University Press, Colombo,
Vol.I, Part I, 1959, pp.393-394.
310 Ibid, pp.393-394.
311 See Lorna Dewaraja, “Cultural relations between Sri Lanka and north India during the
Anuradhapura period,” Sri Lanka Journal of Social Sciences, Vol. X, Nos. 1 & 2, 1987,
p.19.
312 Benjamin Rowland, The art and architecture of India: Buddhist Hindu Jain, Penguin
Books Ltd, USA, 1953, p.370.
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