Abstract:
The advent of Sangamittha, along with the Sri Mahabodhi sapling and a delegation drawn from 18 castes,
including those of the painter/artist caste contributed to the propagation of the fresco and mural
tradition, which had begun way back in the third century in the island, in numerous ways. This art, which
was developed along traditional lines prospered during the Kandyan Period. Despite the permission
granted for the adorning of a deep orange colour (Guru in the vernacular) or white, the Vinaya Pitka’s
section ‘Chullavagga Paliya’ prohibits the depiction of the human form. Literature: including legends, and
chronicles related to King Dutugemunu, Parakramabahu I, and the Visuddhimagga has taken note of the
mural and fresco culture of the island. The kingdom underwent a series of chaos from its establishment as
a kingdom in the early 17th Century to the coronation of its last king – Keerthi Sri Weera Parakrama
Narendrasinghe in the 18th Century. Literature suggests that Keerthi Sri Rajasinghe rises to the throne in
1747 AD and that he seeks the consultation of Ven Welivita Saranankara. The literature also suggests that
the king embraced the teachings of Lord Buddha under the tutelage, guidance and influence of the Ven.
Welivita Saranankara Sangharaja, and further led an attempt to reform Buddhism in the island, which
resulted in a Renaissance of Buddhism. The king also undertook the renovation of Buddhist viharas
previously destroyed by invaders, while building several new viharas. During this period, art in temples
took a novel form, with specific characteristics, including the use of symbology, developing an independent
tradition of art, differentiating itself from the classical tradition. This paper attempts to answer the
question, “Was the artist able to demonstrate the class structure that existed in the society of the time?”,
with the objective of examining and unraveling through the apparel accessories depicted in the temple
frescoes/murals, to understand elements of the society during that period. This study employed primary
and secondary data to explore the frescoes and murals in temples belonging to the Kandyan period in
detail. This study concludes that the artist of the Kandyan period, using symbology and apparel accessories
in the Temple art of the period, has managed to portray the Kandyan society of the period and its social
constructs successfully. This study reveals that the exemplary artist/painter of the Kandyan period has, in
fact, employed apparel accessories of the period, including jewelry, on the characters in frescoes/ murals
that form temple art. The schematic use of these characters in the art that the artist has not personally
seen, is a testimony to his/her effort.
