Quarterly Tours

Jayatissa Herath

National Trust – 03 rd March 2018 FIRST QUARTERLY TOUR 2018 IBBANKATUWA MEGALITHIC BURIALS & DAMBULLA CAVE TEMPLES

Tour Leader

Prof. Nimal De Silva - The President of the National Trust Sri Lanka.

Route

By Bus: Colombo – Borella/ Kadawatha/ Nittambuwa/Warakapola/ Ambepussa/ Polgahawela/ Kurunegala/Galewela/Dambulla

Itinerary

5.30 am Meet at PGIAR and leave at 6.00 am

8.00 – 8.30 am Stop for a self-paid breakfast/Tea and comfort stop at “Keth Sisila” a wayside restaurant at Ratmalgoda (few minutes after Polgahawela)

10.00 – 10.30 am Visit Megalithic burials at Ibbankatuwa

10.35 – 11.10 am Visit Somawathie and Remains of Monastery Complex

11.15 – 1.00 pm Visit Dambulla Cave Shrines

1.15 – 2.15 pm Buffet Lunch at Hotel Lario at Kimbissa

2.30 – 3.30 pm Visit the Painting Museum at Dambulla (to see the documented paintings)

3.45 pm Leave Museum for back to PGIAR via same route

6.00 pm Tea and Comfort stop at Ambepussa

9.30 pm Arrive PGIAR

The itinerary planned may change depending on factors such as time and weather. Please refer last page for more instructions.

NTSL Page 2 of 16 Megalithic Burials (Cemetery) at Ibbankatuva

Located about 2 km to the south-west The cemetery which covers an extent of the Dambulla Rock at Ibbankatuva of about one square kilometer has 42 along the Kurunegala Dambulla Road, clusters of cist tombs, each made of this megalithic Burial is one of the a floor slab, four upright stone units largest in the Island. It is associated and a capstone forming a rectangular with an early settlement site on the chamber. The stone slabs used for banks of the Dambulu Oya, which the cist tombs are broadly regular in is located on the eastern side of shape with a rough finish. Two cist the main road within the present tombs, of which the capstones were coconut plantation. Dated to the intact, have been archaeologically first millennium BC (circa 1000-300 investigated. It has yielded terracotta BC), the iron-age agrarian village urns containing cremated human settlement associated with this Burial remains and rich finds of grave or cemetery belongs to the settlers articles in the form of pottery and farmers of the proto and early and beads of high craftsmanship. historic period who previously were Symbols have also been found the Island’s itinerant food gathering inscribed on some of the capstones. and hunting prehistoric people. These archaeological investigations

NTSL Page 3 of 16 have revealed the burial and ritual tanks and riverside marshes, which practices generally associated with a are the potential sites to investigate megalithic settlement. early irrigated rice cultivation in the Island. This and other such settlements, therefore, are amongst the oldest Archaeologists believe that the villages and the proto-urban settlement associated with this settlements discovered in Sri Lanka cemetery formed the social and so far, which throw significant light economic infrastructure which on the rural base of Sri Lanka’s sustained the early Buddhist classical civilization. The pottery and monastery at Dambulla and that terracotta beads found inside the cist the titled donors of its monastic tombs showcase the pottery usage rock-shelter residences were from and terracotta technology while the amongst the elite of these hinterland beads reflect rich artistic sensibilities, farming communities. Therefore, this social differentiations, symbols of site is historically linked closely to the wealth, status and power, and the Dambulla Manastic complex. One imported items such as carnelian of the clusters of cist tombs of this beads which are indicators of cemetery have been conserved and foreign trade associated with these laid out, while the artifacts recovered settlements. Associated with this during excavations are displayed at settlement are a number of micro- the Museum.

NTSL Page 4 of 16 Somawathi Stupa and Remains of the Monastic complex

The Somawathi Stupa is the has a bodhighara or bodhi-tree major monument of a monastic shrine and a chapter house, being establishment lying at the western the three important ritual buildings side of Dambulla Rock, adjoining Sri of a Buddhist monastery. Around the Valagamba Pirivena. It is dedicated stupa a sacred foot print (Siri Pathula) to the queen of King Valagamba and carved stone and some stone “mal- the complex associated with Rangiri asana” are displayed. Dambulla Vihara (Dambulla Cave Temples). Remains of a flight of carved stone steps that lead to the rock summit This monastic complex dates back runs through this monastic complex. to 5th Century A.D. and flourished Some rock inscriptions, possibly through patronage of kings up to 13th made by ancient kings can be found century A.D. The stupa is of modest cut into the sides of these rock steps. proportions, and the complex also One such record refers that King

NTSL Page 5 of 16 Kutakanna Abhaya (41-19 BC) was Bo tree shrine and Chapter house responsible for making thirteen steps of the flight.’

Some believe that the stupa was originally a square shaped and subsequently converted into a platform and a bubble shaped Stupa was built up on it. The entrance which served the Stupa when it was square had been unearthed during excavations and has been preserved.

NTSL Page 6 of 16 Rangiri Dambulla Temple / Cave Shrines

Dambulla rock, located near the geographical centre of Sri Lanka, rises to a height of about 180 meters period. Along the western slopes from the surrounding plain. There of the Dambulla rocks are a series are about ninety caves scattered in of large boulders, terraces and two clusters facing the south and the caves, which formed the habitat of west, but both associated with the prehistoric man. As evidenced by Dambulla rock. the archaeological investigations in the plain south of Dambulla rock, and the remains such as the megalithic Brief History cemetery at Ibbankatuva including the associated settlement, prehistoric Dambulla is an extremely complex man at Dambulla was succeeded by heritage site, with a history extending the first settlers and farmers of the from prehistoric and proto-historic proto-historic period at some time times, right down to the modern during the first millennium BC. NTSL Page 7 of 16 Around the third century BC, the The literally sources and inscriptional western and southern rock face evidence suggest that the uppermost boulder area of Dambulla became the group of cave shrines have become site for one of Sri Lanka’s largest early a center of royal and religious monastic settlements of the Buddhist activity during theth 11 and 12th monks. From the upper terrace centuries, when Polonnaruva was downwards there were nearly ninety the capital of the Island. Renovations rock shelters in two clusters facing and additions have been carried the south and west that had been out by King Vijayabahu I (1055 adopted as dwellings by the monks of – 1110) and King Nissankamalla the monastery. These early monastic (1187 – 1196) at these cave shrines. cave dwellings are marked by a drip- King Nissankamalla has also gilded ledge cut along the brow so as to seventy-three Buddha images and prevent rain water flowing in to them. given the cave shrine the name Some of the caves contain donor ‘Svarnagiri-guha’ (meaning Golden inscriptions in Brahmi script, carved Rock Cave). just below the drip-ledge ranging between the 3rd century BC and the From the middle of the 17th to 18th 2nd century AD. The chronicles such as centuries, Dambulla once again the Rajavaliya and the Rajaratnakara became a centre of major political ascribe the formal establishment and religious activity. The entire of this monastic settlement to King cave complex was restored and Valagamba (103 and 89-77 BC). It is refurbished with this revival of the uppermost group of five rock and art in the reign of shelters on the southern face of the Kirti Sri Rajasimha (1747-82). Apart Dambulla rock that continued into from Cave No. 4 being established the historical period as the ritual as a shrine, by introducing Buddha and religious centre of the Dambulla images and painting into its interior complex. with murals, all other shrines were also over-painted in the post-classic Since its founding in the 3rd century style of the Kandyan School of art of BC, the uppermost group of rock the late- eighteenth century. It is this shelters seems to have been in phase of revival that is considered to continuous occupation for more than be the climax of the spatial design of twenty-two centuries, and continues Dambulla that has earned it status to be so right down to the present as a World Heritage Site. Cave 5 was day. During the middle historical built at a later period, probably in the period (circa. 5th to 13th centuries nineteenth century which underlines AD), Dambulla continued to develop the importance of Dambulla to the as a major religious centre with the people in the region even in the conversion of the ancient residential absence of royal patronage. rock shelters on the upper terraces into shrines for religious veneration. NTSL Page 8 of 16 This last cycle of significant re- The murals at Dambulla are the painting activity has been carried largest preserved group of mural out from 1915 onwards, when Cave paintings in the region, after the array 5 was repainted on the commission of ancient paintings at the Indian site by a local nobleman. The artists in of Ajanta. They are also one of the charge of these refurbishments were finest examples of the Late Historical hereditary master craftsmen, the Period murals belonging to a pan- direct descendants of the eighteenth- regional tradition that extends across century masters some of whom were South and Southeast Asia, including engaged by the Cultural Triangle , Sri Lanka, Myanmar, and Project in the refurbishments of Thailand. Dambulla is undoubtedly the murals in the 1980s. A more one of the finest and most impressive recent addition to Dambulla was the expressions of this tradition. erection of the present verandah facade by the abbot of the complex in the 1930s. Sculpture

Dambulla has also one of the richest Paintings collections of Buddhist sculpture in the form of large Buddha images in The wall and ceiling paintings at standing, seated, and recumbent the Dambulla caves depict mainly postures as well as a few outstanding religious themes such as Buddha figures of deities as . images and life incidents of the Additionally, it also has three rare Master. At the same time, several royal portrait sculptures. A large themes dealing with political and number of these images date from religious history as well as Buddhist the 5th to 8th century AD, but many cosmological subjects are also of these have been restored, re- found. These paintings are largely modeled or added to in the 18th composed as continuous narratives and 19th centuries, although their or as centralized compositions. original styles and iconography have The rows of arahants (enlightened been substantially preserved. Few of disciple of the Buddha) approaching the extant standing Buddha images the Master amidst the clouds, either follow the 7th or 8th century AD style in worshipping attitude or in carrying of sculptural characteristics with the flowers are also depicted. Decorative heavy swag and convex folds and motifs in abstract, geometrical and the concave pleats of the robes. A naturalistic forms have also been number of new sculptural elements painted in abundance. These murals have also been added to during the cover an area of more than 2,300 Kandyan period and in more recent square meters of internal wall and times, but follows the traditions of ceiling surface within the five cave the classic era. shrines. NTSL Page 9 of 16 Architecture and Interior Design

The shrine complexes at Dambulla like walls, a loosely defined but have been formed out of a series clearly observable system of spatial of part natural and part excavated progression and hierarchy exists caverns. These are separated by within the elaborately painted and screen walls or natural rock partitions, sculptured spaces of the caves, thus on either creating a purposive interior layout side of each. The five cave shrines for distinctive ritual functions devoid together contain an internal floor of physical divisions. area of about 1800 square meters and constitute one of the largest The cave shrine complex when complexes of ancient caves or rock compared with any major Indian site shelters of Architectural conclaves such as Ajanta, Ellora or Karle, this in the South and South East Asian belongs to an entirely different type, region. The architectural masterpiece consisting of a simple outer verandah of the Dambulla cave complex is sheltered by a lean-to-roof and set Cave No. 2, which has been formed against the frontal screen walls of the by the introduction of a frontal wall caves. The present galleried outer separating the central section of the verandah and the arcaded façade, great cavern. Despite the absence was constructed by the then abbot of conventional spatial elements of the 1930s, which conceptually was

NTSL Page 10 of 16 similar to that was known to have the caves and in molding in various existed there in the eighteenth and media the outsized polychrome nineteenth centuries. However, the sculptures and in decorating the style of the new was a mixture of extensive interiors with murals. It European and Asian detailing. Thus showcases an innovative approach Dambulla is probably the largest, the to interior design, utilizing sculptural most dramatic and the best preserved art and mural paintings, and and, indeed, the most integrated a most dramatic, and unique interior example of a living cave shrine of the spaces as a boost of Asia. The site Buddhist world. is also tangibly associated with the longstanding tradition of living The Golden Temple of Dambulla is Buddhist rituals for the pilgrims a masterpiece of human creative and the people of peace. Due to genius representing different facets such outstanding universal value, of creativity and an outstanding Dambulla has been inscribed on the example demonstrating the artistic World Heritage List by UNESCO in skills of humans in transforming 1991. natural rock shelters into vast spaces of Buddhist ritual practices. The site portrays the skills of the arts and crafts in carving large scale religious statuary out of the living rock within

NTSL Page 11 of 16 Cave 1 (Devaraja Vihara) being placed most strategically.

The cave Devaraja Vihara is The main entrance to the shrine, from comparatively small in size with less the south is at the west end, which depth and the interior space almost leads one directly to the principal totally taken up by the sculptures. Buddha image and the The colossal image of the Buddha htorana both fashioned out of the in the reclining posture virtually living rock. The takes the full width of the cave and and the god Natha, stand beside two somewhat resembles the reclining seated Buddha images. Behind the image at Galvihara at Polonnaruva. main image are the two statues of The image of venerable Ananda, the gods and Visnu/Upulvan, two lifelong attendant and the devout of the guardian gods of the Island. disciple of the Master, is positioned The paintings beside represent god at the foot of the reclining figure and god Ganesa. To the while the statue of god Vishnu right as one faces the main image is a stands at the opposite end of the rock-cut stupa with eight directionally cave. The paintings on the walls are orientated Buddha images. To the faded almost beyond recognition, right of the second door is the largest mainly due to the dampness seeping recumbent Buddha image in this through the rock above. shrine, dating from the lateth 19 or early 20th century. Two royal portrait figures, one representing King Cave 2 (Maharaja Vihara) Valagamba, the traditional founder of the temple in the 1st century BC, This is known as the Maharaja Vihara and King Nissankamalla who visited after its traditional founder, king Dambulla and refurbished the cave st Valagamba of the 1 century BC, this shrines in the 12th century. These is the largest and the most elaborate are positioned at the western and cave at Dambulla and one of the eastern ends of the cave respectively. most ambitious undertakings of the Also within the cave is an enclosure to painters, sculptors and architects of collect the water that drips through a several periods. Measuring about fissure in the overhanging rock. The 52 meters from east to west, and devotees consider this as holy water. 23 meters deep, it has a maximum This is also used to prepare the daily height of seven meters near the food offerings for the Buddha shrines. frontal screen wall. It is one of the Three sets of paintings in the form of most dramatic internal spaces in continuous narrations are found here: . The space is the Buddha Charita (the life incidence not compartmented into cells, but is of the Master) in the central area, the spatially differentiated by a complex ‘Arrival of Vijaya’ and the ‘Advent of arrangement of paintings, statues Buddhism’ in the southern recess. and other ritual objects like The Buddha’s enlightenment after NTSL Page 12 of 16 the Parajaya (‘Defeat of Mara’) constitutes the main theme on the ceiling. The Isipatana panel, with its exquisite craftsmanship in the treatment of the nimbus around the It is the principal Buddha image Buddha and the elegance and variety seated on a throne decorated with of its vast gods and goddesses, is the lion motifs, and surrounded rarely matched elsewhere. by a Makara thorana executed in elaborate polychrome detailing Cave 3 (Maha-Alut Vihara) of the Kandyan tradition. This cave contains the third royal sculpture The Maha-Alut Vihara, meaning at Dambulla, an unusual mid-19th the great new shrine was a work of century full figure of its founder, King Kirti Sri Rajasimha (1747-1782). The Kirti Sri Rajasimha, standing against fragments of painting remaining a painted mural backdrop depicting below the drip-ledge of this cave, royal attendants. The great celestial dates from between the 5th and 7th palaces on the ceiling are some of the centuries AD. The centre piece of most impressive and architecturally Cave 3 is an outstanding example informative expressions of this of 18th century Kandyan sculpture. subject in Kandyan painting.

NTSL Page 13 of 16 Cave 4 (Pacchima Vihara)

Pacchima Vihara, meaning the western shrine, is not at present the western most cave shrine of the complex. This suggests that at one time this was the western most cave shrine and the present Cave 5 is a later addition. Comparatively small, but a spacious cave interior has several images of the Buddha in the seated posture. In the middle of the cave is a painted stupa of small scale, which was broken by treasure hunters some decades ago and restored by the Cultural Triangle Project. It is traditionally believed that this stupa contains the jewellery of Somawathi, the queen of king Valagamba of the 1st century BC.

Cave 5 (Devana-Alut Vihara)

There are no references to Cave 5, There are several Buddha images with called Devana Alut Vihara (meaning a large reclining image of Buddha as the second new shrine) in the the central figure. Of the two seated tudapatas (documents of land Buddha images, two have Muchalinda grants by the royalty) up to Kirti Sri Naga spreading the cobra hood over Rajasimha. The Englishmen John the heads, depicting theth 6 week Davy who visited the site in 1819 of the Master’s enlightenment. In and left an elaborate account of the addition to the Buddha images, this cave shrines at Dambulla has also not cave also consists of the images of mentioned this last cave. However, god Vishnu, Kataragama and a local according to the legends written on god known as Devata Bandara. the walls of this cave, the nobleman Ehelepola of Tolambugolla Korale of Uda Walauva had renovated the cave in 1915. It is, therefore, obvious that it was built at a much later period, probably after the second decade of the 19th century.

NTSL Page 14 of 16 Dambulla Museum

Located at the foot to the Dambulla This documentation programme rock on the east, is the Museum was mainly carried out in the second at Dambulla which displays the half of 1980 by the team headed by evolution of Sri Lanka’s painting painter Kushan Manjusri. tradition from its possible prehistoric origins up to modern times using copies of paintings taken from various sites across the country as conceived by Prof. P.L. Prematillake. The storage facility at this museum will show the facsimile copies on canvases of the classical collection of wall and ceiling paintings in the Dambulla cave shrine covering 2300 square meters that had been undertaken under the Cultural Triangle Project as one of its many ambitious programmes.

NTSL Page 15 of 16 Acknowledgements and credits for text, information and Photographs:

Dr. Nilan Cooray - for providing text and Photos on sites (from Tour Booklet No.26) http://podimenike.blogspot.com/2014/04/somawathi-chethiya-archaeological-site. html http://amazinglanka.com/wp/dambulla-somawathiya/ http://amazinglanka.com/wp/ibbankatuwa/ http://amazinglanka.com/wp/dambulla-temple/ http://www.lakdana.lk/si/node/42691

Meals

Each participant is requested to bring their own breakfast or have self paid breakfast during comfort stop. Tea and a buffet lunch has been organised to accommodate both veg and non veg meal preference.

A pack of fruit juice will be provided and bottles of water will be available on board.

NTSL Page 16 of 16