Papers by Koshalee Kakulandala
The first Sinhalese literary evidence of Ganapati is found in a verse of Sasadāvata, a poetry wor... more The first Sinhalese literary evidence of Ganapati is found in a verse of Sasadāvata, a poetry work composed in 12 century CE during the Polonnaruwa period. Ganapati or Gatesha, who is one of the most worshiped gods in Hindu culture, is not found in Sri Lankan literature till the medieval period. However, a sculpture of an elephantheaded figure belonging to the 2 century CE has been found on the cornice below the topmost register of one of the frontispieces of Mihintale Kaat ka Ctiya among the frieze of dwarfs, referred to as gatas in literature. The figure has been identified by scholars as the wellknown Hindu god Gatapati owing to the elephant head. In comparison to Hindu sculpture, the figure can be correctly identified as an early depiction of Gatapati. This interpretation leads to a number of questions that need to be answered, such as: does the presence of this representation of Gatapati refers to the existence of the cult of Gatapati in Sri Lanka at that time? And further it a...
Robert Knox was a British sailor who was held captive in Ceylon for nineteen and a half years. Af... more Robert Knox was a British sailor who was held captive in Ceylon for nineteen and a half years. After escaping from captivity, he wrote the manuscript, 'An Historical Relation of the Island Ceylon' and later published it in London in 1681. It was a descriptive account with illustrations of his experiences on Ceylon. Knox recorded many aspects of the country and its society, including royal administration, agriculture, religion, culture, education and bio-diversity. One of the significances of his account was the description of Sri Lankan elephants at that time. Although many travelers who visited Sri Lanka had previously recorded the elephants, they rather commented on them as a famous and luxurious commodity. Knox's record was the first descriptive travel account of elephants, rather than focusing on their commercial value. His statement "…the creature that this countrey is famed for above any in India" defined the deep-rooted idea of Sri Lankan elephants among foreigners at the time and expressed why he was interested to write such a long narration on them. Further, it emphasized the need to review Knox's work based on a historical perspective when we are studying the Sri Lankan elephant in any aspect. Therefore the main objective of this study is to review his account to identify the condition of elephants at the time. Accordingly, it can be stated that the details of nature of Sri Lankan elephant, attitudes of people, activities, capturing and taming of elephants as well as damages to the people by them can be followed from the Knox's account.
The first Sinhalese literary evidence of Gaṇ apati is found in a verse of Sasadāvata, a poetry w... more The first Sinhalese literary evidence of Gaṇ apati is found in a verse of Sasadāvata, a poetry work composed in 12 th century CE during the Polonnaruwa period. Gaṇ apati or Gaṇ esha, who is one of the most worshiped gods in Hindu culture, is not found in Sri Lankan literature till the medieval period. However, a sculpture of an elephant-headed figure belonging to the 2 nd century CE has been found on the cornice below the topmost register of one of the frontispieces of Mihintale Kaṇ ṭaka Cētiya among the frieze of dwarfs, referred to as gaṇ as in literature. The figure has been identified by scholars as the well-known Hindu god Gaṇ apati owing to the elephant head. In comparison to Hindu sculpture, the figure can be correctly identified as an early depiction of Gaṇ apati. This interpretation leads to a number of questions that need to be answered, such as: does the presence of this representation of Gaṇ apati refers to the existence of the cult of Gaṇ apati in Sri Lanka at that time? and further it also raises the question as to what was the intention of having a figure of Gaṇ apati in a Buddhist temple? and it also prompts us to think about the nature of Buddhism that would have prevailed at that time in Mihintale that allowed a sculpture of Gaṇ apati in the Mihintale monastery of Kaṇ ṭaka Cētiya. This study intends to examine the social and cultural dynamics that would have allowed for the intrusion of such a non-Buddhist icon into a Buddhist building at an early stage of Buddhist history in the island. Arising from the facts available, this figure can, thus, be identified as an earliest 1 BA, MPhil in Archaeology, PhD candidate, Visiting Lecturer, Postgraduate Institute of Pali and Buddhist Studies (PGIPBS), University of Kelaniya, Sri Lanka.
The festschrift volume for venerable Mahanuwara Dhammaratana, Vol. 45
'Bharata Natyam’ refers to a dance tradition that evolved in the regions of South India and which... more 'Bharata Natyam’ refers to a dance tradition that evolved in the regions of South India and which was practiced in fanes dedicated to God Siva. In accordance, till recent times, the experts of this dance tradition were the ‘Devadasis’ or the women in the fanes who danced in tribute of god. So Bharata Natyam can be introduced as a dance tradition which inherits a very ancient history and a tradition which preserves its ancient features till today. While proving that Bharata Natyam, which is a much admired foreign dance tradition in present Sri Lanka, has been popular in Polonnaruwa period as well, the intention of this research is to analyze the nature of this dance tradition at that time. Clear evidence has been found to prove that the arrival of Bharata Natyam dance tradition as a result of the South Indian influence that Sri Lanka underwent during the Polonnaruwa period. Among these evidences, sculpture possesses a special importance. Since, among these sculptures, the figurines of a female dancer and a pair of players which are attached to the chain of the Elephant Lamp found in Dedigama Kotavehera and the small figurine of a female dancer are considered to be works of genius, this research has been based on them as well. Accordingly by this research, in association with those images, it has been able to do an analysis over the nature of Bharata Natyam dance tradition (dance configuration, costumes, and musical instruments) which has been popular in the country during Polonnaruwa Period. Also it is clear that a Bharata dance tradition which is equal to the basic features and the structure of the present Bharata Natyam, has existed in Polonnaruwa period.
Robert Knox was a British sailor who was held captive in Ceylon for nineteen and a half years. Af... more Robert Knox was a British sailor who was held captive in Ceylon for nineteen and a half years. After escaping from captivity, he wrote the manuscript, 'An Historical Relation of the Island Ceylon' and later published it in London in 1681. It was a descriptive account with illustrations of his experiences on Ceylon. Knox recorded many aspects of the country and its society, including royal administration, agriculture, religion, culture, education and biodiversity. One of the significances of his account was the description of Sri Lankan elephants at that time. Although many travelers who visited Sri Lanka had previously recorded the elephants, they rather commented on them as a famous and luxurious commodity. Knox's record was the first descriptive travel account of elephants, rather than focusing on their commercial value. His statement "…the creature that this countrey is famed for above any in India" defined the deep-rooted idea of Sri Lankan elephants among foreigners at the time and expressed why he was interested to write such a long narration on them. Further, it emphasized the need to review Knox's work based on a historical perspective when we are studying the Sri Lankan elephant in any aspect. Therefore the main objective of this study is to review his account to identify the condition of elephants at the time. Accordingly, it can be stated that the details of nature of Sri Lankan elephant, attitudes of people, activities, capturing and taming of elephants as well as damages to the people by them can be followed from the Knox's account.
wkq rdOmq r iy fmdf<dka kre hq .hka ys k¾;k l,djg iy k¾;k Ys ,a mS ka g ys ñ iudc ;;a Fjh flda I,... more wkq rdOmq r iy fmdf<dka kre hq .hka ys k¾;k l,djg iy k¾;k Ys ,a mS ka g ys ñ iudc ;;a Fjh flda I,S lel= ,ka o, Y% S ,dxlS h k¾;k l,dj Wvrg" my;rg iy inr.uq hk m% Odk k¾;k iïm% odhka ;% s ;a jfhka iuka ú; fõ' tu k¾;k iïm% odhka w;= ßka merKs u iïm% odh f,i oekg y÷kdf.k we;a f;a inr.uq k¾;k iïm% odh hs ' kuq ;a th Y% S ,dxlS h k¾;k l,dfõ uQ ,drïNh hehs bka woyia fkdfõ' fï yereKq fldg Y% S ,xldfõ wkq rdOmq r" fmdf<dka kre" hdmyq j iy .ïfmd< jeks rdcOdks iuhka ys úydrdrdu iy fjk;a f.dvke.s ,s wdY% s ;j k¾;k ú,dYhka oela fjk leghï iy uQ ¾;s yuq fõ' Bg wu;rj n% dya ó Ys ,d f,a Lkj, kegq ï fY% a Ks ms <s n| i|yka ù we;s wjia :d ola kg ,efí' tfia u jxYl;d jeks uQ ,dY% wdY% s ;j o merKs ,la Èj k¾;k l,dj ms <s n| úúO f;dr;= re i|yka j ;s fnkq oels h yels h' fï iEu idOlhls ka u meyeÈ,s jka fka Y% S ,xldfõ jir oyia .Kklg fmr mjd k¾;kh l,djla f,i mej;s njhs ' tfia u fuu k¾;k l,djg iuld,S k iudch ;= < ie,ls h hq ;= ;;a Fjhla ys ñj ;s nQ njg by;s ka ola jk ,o uQ ,dY% u idCIs imhkq ,efí' ta wkq j fuu ,s ms fhka wfma CId lrkq fha fuu merKs k¾;k l,dj iy tl, k¾;kfha fhÿKq k¾;lhka ,nd ;s nQ iudc ;;a Fjh ms <s n| úYa f,a IKd;a ul wOHhkhla is ÿ ls Íuhs '
Conference Presentations by Koshalee Kakulandala
International Young Buddhist Scholars Conference 2017, 2017
The first Sinhalese literary evidence of Gaṇapati is found in a verse of Sasadāvata, a poetry wo... more The first Sinhalese literary evidence of Gaṇapati is found in a verse of Sasadāvata, a poetry work composed in 12th century CE during the Polonnaruwa period. Gaṇapati or Gaṇesha, who is one of the most worshiped gods in Hindu culture, is not found in Sri Lankan literature till the medieval period. However, a sculpture of an elephant-headed figure belonging to the 2nd century CE has been found on the cornice below the topmost register of one of the frontispieces of Mihintale Kaṇṭaka Cētiya among the frieze of dwarfs, referred to as gaṇas in literature. The figure has been identified by scholars as the well-known Hindu god Gaṇapati owing to the elephant head. In comparison to Hindu sculpture, the figure can be correctly identified as an early depiction of Gaṇapati. This interpretation leads to a number of questions that need to be answered, such as: does the presence of this representation of Gaṇapati refers to the existence of the cult of Gaṇapati in Sri Lanka at that time? and further it also raises the question as to what was the intention of having a figure of Gaṇapati in a Buddhist temple? and it also prompts us to think about the nature of Buddhism that would have prevailed at that time in Mihintale that allowed a sculpture of Gaṇapati in the Mihintale monastery of Kaṇṭaka Cētiya. This study intends to examine the social and cultural dynamics that would have allowed for the intrusion of such a non-Buddhist icon into a Buddhist building at an early stage of Buddhist history in the island. Arising from the facts available, this figure can, thus, be identified as an earliest depiction of this Hindu god at a Buddhist temple in Sri Lanka, as the head of the gaṇas, in the form of Ēkadanta who has only one tusk as we know him today. The consciousness among the contemporary society of him as a divine being is evident from the archaeological context of the sculpture. Therefore, sculpturing Gaṇapati at Mihintale Kaṇṭaka Cētiya can be identified as the early stage of absorbing this non-Buddhist deity in to Sri Lankan Buddhist culture. Further, it can be concluded that the heterodox Buddhism was influential in sculpturing non-Buddhist icons in early Buddhist art. Simultaneously, the political revolution from Mauryan to Lambakarṇas led to changes in political context, therefore, new group of patrons for heterodox Buddhism were begining to emerge.
Keywords: Gaṇapati, head of gaṇas, Hindu sculpture, non-Buddhist deities, Mihintale Kaṇṭaka Cētiya
The proceedings of Second Archaeological Research Symposium
Books by Koshalee Kakulandala
Teaching Documents by Koshalee Kakulandala
An Introduction to Buddhist Art in Sri Lanka, 2017
An Introduction to Buddhist Art, 2017
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Papers by Koshalee Kakulandala
Conference Presentations by Koshalee Kakulandala
Keywords: Gaṇapati, head of gaṇas, Hindu sculpture, non-Buddhist deities, Mihintale Kaṇṭaka Cētiya
Books by Koshalee Kakulandala
Teaching Documents by Koshalee Kakulandala
Keywords: Gaṇapati, head of gaṇas, Hindu sculpture, non-Buddhist deities, Mihintale Kaṇṭaka Cētiya