Format: Paper presentations with discussion
Convenors:
K.V.J. Koshalee, Dept of History and Archaeology, University of Ruhuna, Sri Lanka, kvjkoshalee@hist.ruh.ac.lk
Prasanna Ranabahu, Postgraduate Institute of Archaeology (PGIAR), University of Kelaniya, Sri Lanka, prasannaranabahu@gmail.com
Naresh Shakya, Principal, Aksheswar Traditional Buddhist Art College (Lumbini Buddhist University), Kathmandu, Nepal, nare72@gmail.com
Piyumi Embuldeniya, Dept of Archaeology, University of Peradeniya, Sri Lanka, piyumie@arts.pdn.ac.lk
Buddhist paintings have been a common and recurrent medium among all Buddhist communities for presenting Buddhist ideas and concepts. Buddhist paintings refer to works of art that depict various themes, including representations of the Buddha, episodes from the life of Buddha, Jataka stories, revered figures in Buddhism, divine beings, symbols, decorative motifs, and other subjects related to Buddhism. They are often found in specific contexts, such as shrines, monasteries, and manuscripts, as well as on decorative materials like cloth and wooden objects. This medium is of particular significance in studying Buddhist art, as it links the Buddhist philosophies and the society that produces and interacts with them. Indeed, Buddhist paintings can be analysed through two primary lenses: first, by examining how contemporary societies are reflected in the paintings (society in Buddhist art), and second, by exploring the role these paintings played within those societies (Buddhist art in society). These dual perspectives broaden the scope of studying societies influenced by Buddhism, allowing for diverse theoretical and methodological frameworks. Such studies adopt an interdisciplinary approach, intersecting with archaeology, art history, Buddhist studies, anthropology, and related disciplines. These inquiries may encompass temporal and spatial diversity, reflecting distinct cultural contexts across Buddhist societies worldwide. This session invites original scholarly contributions that explore the dynamic interplay between Buddhist paintings and society in regions including, but not limited to, India, China, Nepal, Tibet, Mongolia, and Sri Lanka, encompassing the varied doctrines of Theravāda, Mahāyāna, and Vajrayāna Buddhism. By bringing together experts in the field, the session aims to encourage discussions on how societies can be studied and understood through the lens of Buddhist paintings, deepening our understanding of Buddhist art’s societal and cultural dimensions.
Papers:
A Study of the Temple Painting ‘Mahadana Situwarayage Kathawa’ (The Story of Mahadana Sitano) at Kataluwa Purwarama Temple in the Galle District, Sri Lanka
Manoj Alawathukotuwa, Dept of Fine Arts, Faculty of Art, University of Peradeniya, Peradeniya, Sri Lanka
Sri Lankan temple painting plays a significant role in religious, educational, and cultural contexts. The history of these paintings dates back to the Anuradhapura period. The primary purposes of temple wall paintings are to educate the general public on Buddhist teachings and to cultivate noble character for the betterment of society. Therefore, the stories of the Lord Buddha and the previous births of the Lord Buddha (Jataka tales) have been commonly used as themes in these paintings. Among these narratives, the story of Mahadana Sitano is particularly significant and is depicted at Kataluwa Purwarama Temple. This story serves as a cautionary tale, warning against squandering wealth on indulgence, music, and excessive revelry. The portrayal of this narrative suggests that the painter—possibly under the influence of temple authorities—intended to critique Western lifestyles and colonial influence by embedding these moral lessons within Sri Lankan society. Additionally, the selection of such themes reflects an effort to discourage performing arts, such as music and entertainment, in accordance with cultural and moral norms. The main objective of this paper is to analyse the narrative of the painting according to the cultural context at that time.
On the Artistic Style and Developmental Changes of Statues in the Northern Dynasties at Maijishan Grottoes
Tongling Wang, Art Institute of Maijishan Cave Temple Complex, Gansu Tianshui 741020, China
The Maijishan Grottoes, initially sculpted during the Later Qin of the Sixteen Kingdoms period, preserve a vast corpus of Buddhist statuary spanning successive dynasties. Among these, the Northern Dynasties clay sculptures exemplify both continuity and innovation, reflecting the zenith of sculptural artistry. This study explores: (1) How did Maijishan’s Northern Dynasties sculptures evolve stylistically? (2) What socio-religious and artistic factors influenced these transformations? (3) How does Maijishan’s sculptural corpus contribute to the broader understanding of medieval Chinese Buddhist art? Using iconographic analysis and comparative stylistic examination, the study traces transformations in facial modelling, drapery, and posture across the Northern Wei, Western Wei, and Northern Zhou periods. A contextual approach situates these changes within socio-political and religious frameworks, considering Silk Road artistic exchanges. The findings reveal that, while Maijishan’s sculptures align with contemporary Chinese Buddhist art, they exhibit distinct regional features reflecting local traditions and doctrinal interpretations. Assessing its stratified visual record, this paper argues that Maijishan was a dynamic artistic and religious hub, synthesising indigenous aesthetics with external influences. It further examines patronage, doctrinal shifts, and artisanal specialisation, positioning Maijishan as a key site in East Asian Buddhist art.
Wannaku Ralalaya Jeewanthi Vasana, Archaeological Research Officer, Dept of Archaeology Sri Lanka
The depiction of Mara’s defeat and the seven weeks in temple paintings has been used by Sri Lankan artists in both the upland and lowland traditions. When the Bodhisattva began meditating to attain enlightenment, Mara and his followers came and created various obstacles that prevented him from attaining enlightenment. Gautama Bodhisattva, who defeated them, attained enlightenment. Buddhist literature states that after seeing the defeated Mara in great distress, the daughters of Tanha (thirst), Arati (thirst, dissatisfaction), and Raga (attachment, desire, greed, lust) went to the Buddha and tried to break the Buddha’s meditation in various ways. This is mentioned in the Mara Samyutta of the Samyutta Nikaya Sutta Pitaka of the Buddha’s discourses. This research paper studies the steps taken by the artist to make the public understand the Dhamma issues that arise in the deepest mind, namely desire, anger, and lust. These temple paintings show how the artist attempts to express a very profound Dhamma in a simple way, utilising the existing social environment.
Hariharihari Vāhana Lokeśvara: Popular Theme of Murals of Kathmandu Valley
Naresh Shakya, Principal, Aksheswar Traditional Buddhist Art College, Nepal
Hariharihari Vāhaha Lokeśvara is one of the most frequently found Bodhisattvas among many images of Buddhist divinities. He rides on Nārāyana, which rides on Garuḍa. Garuda rides on Lion and Lion on Snake and depicts both the Buddhist and Hindu deities. This Lokeśvara is mentioned in the Svayambhū Purāna, which is one of the most important legends regarding the origin of Kathmandu Valley. The legend tells a story of the importance of this Lokeśvara and its supremacy over Viṣṇu. Nepal always had Hindu rulers and the general population were followers of Buddhism. Although there was religious harmony, there was always a soft dominance of Hindu rulers. So, Hariharihari Vāhana Lokeśvara might be a kind of expression of local Buddhists manifesting superiority over Hinduism. There are no found sculptures or paintings of this Buddhist deity in India, but we have abundant sculptures and mural paintings on local private residences of Kathmandu Valley. It could be even reckoned that Hariharihari Vāhana Lokeśvara was developed in Nepal and entered the Sādhanamālā.
The Expressive Power of Paintings at Buddhist Vihara in Sri Lanka: Special Reference to the Solosmasthana Paintings Belonging to the Kandyan Tradition
Piyumi Embuldeniya, Dept of Archaeology, University of Peradeniya, Sri Lanka
The paintings at Buddhist Vihara are a significant facet of Sri Lanka’s heritage, forming an essential part of the country’s Buddhist art, particularly in the Kandyan tradition. The Solosmasthana are sixteen sacred sites in Sri Lanka that hold special significance in Buddhism. They are believed to have been visited by the Lord Buddha during his three visits to the island. The aim of this research paper is to explicate the expressive power of Solosmasthana paintings of Kandyan tradition at Buddhist Vihara through the mixed research method. The Solosmasthana sites are situated in the North-Central Province of Sri Lanka, with their paintings also found in the Central and Southern provinces, and considering the growing popularity of Solosmasthana as a theme in Kandyan tradition paintings, it is crucial to uncover the factors that influenced the depiction of Solosmasthana in Buddhist Viharas centuries after their construction. These paintings serve as a vibrant bridge between several time and space contexts, upholding the spiritual legacy of Buddhism while reflecting the distinct cultural context of Sri Lanka. Through the visual narratives of the Solosmasthana paintings, they guide devotees through the history and significance of each sacred site, deepening their connection to these esteemed places.
Art and Devotion in Medieval Sri Lanka: Buddhist Murals of the Tivanka Image House and their Socioreligious Context
Kakulandala Vithanage Janitha Koshalee, Dept of History and Archaeology, University of Ruhuna, Sri Lanka
The Tivanka image house, located in Polonnaruwa, Sri Lanka, is a remarkable example of 12th–13th century Buddhist paintings. It is the only surviving structure that offers an understanding of the arrangement and positioning of Buddhist paintings within an image house. The image house is adorned with exquisitely preserved murals depicting Jataka tales and lesser-known episodes from the life of the Buddha, such as his descent from Sankassa, which are significant within the broader context of Sri Lankan art. Over the years, numerous archaeological and art historical studies have examined these paintings, focusing on their dating, stylistic attributes, painting techniques, patronage, and thematic content. Additional research has attempted to identify the specific Jataka stories represented and interpret the religious messages conveyed through their compositional arrangements within the image house. This study, however, shifts the focus to the selection of Jataka stories and episodes from the Buddha’s life as visual narratives. It aims to explore how these themes reflect and engage with the Buddhist society of the period, providing a deeper insight into the cultural and religious context of 12th–13th century Sri Lanka.
S. M. Dinendri Niroshani K. Senevirathne, Dept of Fine Arts, University of Peradeniya, Sri Lanka
Buddhist temple paintings in Sri Lanka have long served as a medium for religious symbolism, cultural preservation, and reflections on contemporary society. Among them, the Kandyan-period frescoes stand out as a significant artistic tradition that not only illustrated religious themes but also reflected the social, political, and cultural background of the time.
According to Wilhelm Geiger, music and dance were dominant art forms in traditional Sri Lankan culture. women found their place especially as dancers while men played drums and other musical instruments. In this research, I approach the Mulkirigala temple frescoes, which depicted a group of female musicians, a rare artistic representation.
This painting is based on the Buddhist Jataka story “Thelapatta Jatakaya”, the fresco portrays these women as devils rather than members of contemporary society. Among these figures, one woman is playing the drum, an instrument that requires significant physical endurance and traditionally played by male performers. This shows the women’s strength and ability to engage in social roles beyond conventional expectations, challenging traditional gender norms within the symbolic framework of Buddhist temple art.
This is qualitative research. Both primary and secondary sources used to analyse the fresco’s symbolic meaning within the context of Buddhist temple art.
The Educational, Cultural, and Social Influence of Jataka Katha Paintings at Rathnapura Pothgul Rajamaha Viharaya
Udaha Dasilige Kasun Ravisankha Wijesinghe, Dept of Music, Sri Lanka Technology Campus, Sri Lanka
The Jataka Katha paintings at Rathnapura Pothgul Rajamaha Viharaya are vital for preserving Buddhist wisdom, ethics, and cultural identity. These intricate artworks, depicting the Buddha’s past lives, serve not only as religious symbols but also as educational tools, transmitting values such as compassion, generosity, and righteousness. They visually reinforce Buddhist teachings, acting as silent classrooms for both monastic and lay communities.
Culturally, the paintings embody Sri Lanka’s artistic heritage, preserving traditional techniques and symbolism unique to Theravāda Buddhism. They ensure the continuity of Buddhist visual culture in the face of modernisation.
Socially, the Jataka paintings promote community cohesion by providing a shared space for reflection on Buddhist virtues, fostering ethical conduct and communal harmony. They attract pilgrims and scholars, offering a blend of religious devotion, historical exploration, and cultural appreciation.
This study explores the educational, cultural, and social influence of these paintings, underscoring their role in sustaining Buddhist philosophy while shaping the ethical and cultural landscape of contemporary society.
Societal Reflections in Buddhist Art: Contemporary Norms and Values in the Murals of Dowa Raja Maha Vihara
Akila Vishvanath Edirisinghe Edirisinghe Appuhamilage, Sri Lanka Technology Campus, Padukka, Sri Lanka
The murals of Dowa Raja Maha Vihara, an ancient Buddhist temple in Sri Lanka, serve as visual narratives that illustrate Buddhist philosophy, morality, and societal ideals. Although these paintings date back centuries, their themes remain relevant for understanding the evolution of societal norms and values. This study explores how the symbolism, narratives, and moral lessons embedded in these ancient murals relate to or contrast with contemporary Sri Lankan society. By analysing depictions of karma, dharma, governance, and social roles, this research seeks to determine whether these values continue to shape modern Buddhist perspectives or have undergone reinterpretation due to socio-political and cultural transformations.
This study employs a qualitative methodological approach, incorporating visual analysis, semiotic interpretation, and ethnographic interviews. A detailed visual examination of the murals will highlight their iconography and narrative structures. Semiotic analysis will decode how these visual elements convey ethical and social values. Additionally, interviews with temple monks, art historians, and local visitors will provide insights into contemporary perceptions of these murals. This interdisciplinary approach allows for a nuanced understanding of how ancient Buddhist artistic traditions continue to influence or diverge from modern socio-religious thought in Sri Lanka.
Depictions of Flora and Fauna in the Mulkirigala Image House Paintings: Insights into Contemporary Environment and Culture
Dissanayake Mudiyanselage Kaushalya Gauthami Kumari Dissanayake, Regional Officer, Dept of Archaeology, Sri Lanka
The image house paintings at Mulkirigala Raja Maha Vihara, a significant cultural heritage site in Sri Lanka, serve as a vibrant repository of flora and fauna from the Kandyan Era. These paintings, primarily depicting episodes from the life of Gautama Buddha and Jataka stories like Vessantara, Telapatta, and Shivi, include detailed representations of various trees, such as areca nut, coconut, mango, banyan, Sal, Pipul (Bo), palm, and banana. Flowers and fruits, as well as inscriptions beneath the paintings, were meticulously analysed to gain insights into the flora. Additionally, depictions of animals, such as wild species like monkeys and squirrels, domestic animals like dogs and roosters, and birds, including woodpeckers, peacocks, yellow-billed babblers, and pigeons, were identified. Field surveys combined with literature reviews have enabled a comprehensive understanding of these representations. This research is vital for reconstructing the contemporary environment during the Kandyan Era, offering insights into the biodiversity, ecological awareness, and cultural significance of flora and fauna in historical Sri Lanka. By studying these artistic representations, we gain a deeper understanding of the interconnection between the natural environment and cultural expression in the region.
The Evolution of Buddhist Temple Paintings in Sri Lanka: Visual Transitions and Societal Reflections from the Kandy Period to the Colonial Era
D. Viyara Gemini Fernando, Dept of Archaeology, University of Ruhuna, Sri Lanka
Sri Lankan Buddhist temple paintings underwent a significant transformation from the Kandy period (17th–19th century) to the colonial era (19th–20th century), reflecting broader societal changes. Kandy-period murals adhered to traditional Theravāda Buddhist artistic conventions, emphasising symbolic representation, spiritual detachment, and didactic storytelling. However, with colonial influences, temple paintings adopted Western artistic elements such as naturalism, perspective, and humanised figures, marking a visual and conceptual departure. This study employs a comparative analysis of temple murals, incorporating visual analysis, historical contextualisation, and secondary literature to understand how these artistic shifts reflect evolving Buddhist identities and colonial cultural exchanges. Findings reveal that colonial-era Buddhist paintings, influenced by European artistic traditions, shifted from strict religious didacticism to a more aesthetic and interpretative approach, mirroring a society in transition. These changes indicate not only artistic adaptation but also the impact of colonial rule on religious and cultural expressions. The study highlights how Buddhist temple paintings serve as a medium through which societal values, power dynamics, and cultural interactions are visually documented and negotiated. Understanding these transformations provides insights into the intersection of religion, art, and colonial influence in Sri Lankan history.
A Study of the Popular Image of the Shanmukha Kataragama Deity in Sri Lankan Society Based on Buddhist Temple Paintings from the 18th-19th Centuries
Ruwan Dilintha Windsor, The Postgraduate Institute of Archaeology (PGIAR), University of Kelaniya, Sri Lanka
The Shanmukha Kataragama deity plays a key role in Sri Lanka’s religious and cultural landscape. Depicted with six faces and twelve hands, the deity aligns with the Hindu god Murugan (Kartikeya), symbolizing war, victory, and divine power. This study explores the evolution and representation of Shanmukha Kataragama in 18th and 19th-century Sri Lankan murals, focusing on its iconography, symbolism, and stylistic transitions. A multidisciplinary approach combines art history, religious studies, and sociocultural perspectives, drawing on field studies, visual analysis, and textual sources. Findings highlight the fusion of Hindu and Buddhist artistic traditions, with the murals reflecting local religious beliefs and cultural expressions. The murals also serve as visual narratives, reinforcing the deity’s significance in Sri Lankan society and religious practices. Variations in artistic style point to changing patronage and socio-political influences on temple art. In conclusion, the study emphasises Shanmukha Kataragama’s role in religious syncretism and artistic expression, offering insights into the interaction between art, religion, and identity in Sri Lankan heritage.