Sights at the Kandalama tank bund, Sri Lanka.

Water lily flower.

The highway over the Kandalama tank bund and the distant hills.

The 'Kandalama Hotel' complex across the tank at the foot of the hills.

A lone fisherman in an outrigger canoe on the Kandalama tank.

Peace and tranquility is what you get here. The hours will slip by as the wind caresses your body and you dream at this site.

Cave temples at Dambulla, Sri Lanka.

The entrance to one of the cave temples.

A corridor outside the cave temple.

Statues of Lord Buddha inside the cave temple.

Note the paintings on the roof of the cave.

'The ensemble of Dambulla is an outstanding example of the religious art and expression of Sri Lanka and South and South-East Asia. The excavated shrine-caves, their painted surfaces and statuary are unique in scale and degree of preservation. The monastery includes significant masterpieces of 18th century art, in the Sri Lankan school of Kandy.

The rock of Dambulla is the centre of a Buddhist cave-temple complex established in the 3rd century BC and occupied continuously until today. Its location has marked a transportation node between the Eastern and Western Dry Zones and between the Dry Zones and the central mountains throughout the history of Sri Lanka. The cave-temple complex is established on an inselberg or erosional remnant of importance in the study of the island's geological history. The site also includes evidence of human occupation going back to the prehistoric period, including the megalithic cemetery at Ibbankatuwa.

The site has been in continuous use for over 22 centuries, when it was occupied by a Buddhist monastic establishment, following the arrival of Buddhism on the island. Remains of 80 rock-shelter residences established at that time on the site have been identified. Most probably in the 1st century BC, the uppermost group of shelters on Dambulla's south face was transformed into shrines. These transformations continued and were intensified between the 5th and 13th centuries: cave-temples were extended into the sheltering rock, and brick walls constructed to screen the caves. By the end of the 12th century, with the introduction by King Nissanka Malla of sculpture to the caves on the upper terrace, echoing the rock carving that had preceded it, the caves assumed their present general forms and layout.

The next major phase of development took place in the 18th century when, following a long-standing tradition, the upper terrace was restored and refurbished. All the painted surfaces within the caves were painted or overpainted in a style characteristic of the Kandy school of the late 18th century. At that time, the modest Buddhist figures in the caves were repainted, maintaining original details and iconography; the fronting screen walls were rebuilt and roofed to form an outer veranda. Throughout the 19th century, following the loss of royal patronage in 1815, periodic repainting of sculptures and deteriorating surfaces continued. In 1915, thanks to the efforts of a local donor, cave No 5 was entirely repainted. In the 1930s, the veranda was rebuilt incorporating a mixture of European and Asian detailing, and the complex's entrance porch was reconstructed in a conjectural 18th century style.

This cultural landscape is an extraordinary and unique complex: the cave-temple, rock paintings in five caves and 157 statues of various sizes. Dambulla bears witness in its richly layered composite nature to the use of the entire site for close to four millennia. The larger site incorporates a set of individual units reflecting all phases of site development from the megalithic period to the present day, including a monastic chapter house, bo-tree temple, dagoba and the earliest known village revealed by archaeological research in Sri Lanka. Those are located within a site of considerable natural beauty and power.

Particular care has been taken in developing approaches to conservation which are in tune with the site's qualities, and the capacities of available conservators. One of the site's distinguishing characteristics is the regular renewal of decorated surfaces over time; conservation measures devoted to stripping back layers of later painting on wall surfaces or sculpture to reveal earlier images, would be ignoring the worth of the ongoing tradition which has regularly ensured complete repainting of surfaces.

As well, the physical nature of the cave setting, with its latent moisture and migrating salts problems, has prompted much of the painting 'repair' that has taken place. Equally, limited tests, during conservation efforts, suggest that little earlier work survives, most later overpainting having prompted reinstatement of new base surfaces and obliteration of the old. The Jeevan Naide family, charged with care of the wall paintings since early in the 18th century BC, is still employed, working with ola leaf manuscripts which provide a clear idea of the complex layout and associated painting techniques. Technical missions to the site in 1990 and 1991, working with local apprentices and the Jeevan Naide family, brought science and tradition together in treatment of the site.'

Source: UNESCO/CLT/WHC

http://whc.unesco.org/en/list/561

Click on web-link below to see some still photographs taken by me on a trip there in October 2013:-

http://youtu.be/qctKZjy05qo

We wish you a Merry Christmas, 2013.

http://youtu.be/5RO1jNJcWas

http://youtu.be/CWqgu6EalzM

Kanthaka Chaithya, Mihinthale, Sri Lanka.

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Kanthaka Chathya, Mihinthale, Sri Lanka.

Kantaka Chethiya was renovated in 1930′s to the current status. When this stupa was discovered, it has been a just a mound of earth covered by various debris. This has been known as the Kiribadapavu Dagaba, Kiribat Vehera, or Giribhanda during this time. But a stone inscription found close by has identified the original name of this stupa as Kantaka Chethiya.

It is unknown who built this stupa but it is said that the King Lanjatissa (119-109 BC) has built a stone mantel built for this stupa. Therefore we can assume that the stupa was built prior to 119 BC. The present stupa is 425 feet in diameter and is about 40 feet high. This stupa is most popular for one of the most well preserved vahalkada which can be seen today.

http://amazinglanka.com/wp/kantaka-chethiya/

Mihinthale sights, Anuradhapura, Sri Lanka.

Sights at Mihinthale, Anuradhapura, Sri Lanka.

Sights at Mihinthale, Anuradhapura, Sri Lanka.

A mini-stupa made of baked bricks.

Stone pillars of the alms-hall.

A water conduit made from stone, the equivalent of a GI or plastic pipe of today.

Mihinthale sights, Anuradhapura, Sri Lanka.

'Buddhism was introduced to Sri Lanka at Mihintale in 247 B.C. King Devanampiyatissa of Sri Lanka, who was on a hunting expedition, became a disciple of Buddha after the Buddhist missionary Mahinda preached a sermon. He was followed by his queen, his ministers, officials and the people. Mihintale thus became historically and religiously significant, and ever since it annually attracts pilgrims during the June full moon to commemorate the official introduction of Buddhism to Sri Lanka. To accommodate the lay and scholarly interest in Mihintale, both the sacred area and the town have undergone several phases of development, includ­ing a site museum. A rock inscription records the finest description of the running of a monastery in the 9th century A.D. It refers to the 200 or more serfs who assisted the religious congregation of 2,000. It also records the salaries paid to the physi­cian, the surgeons, the teachers, potters, cooks and other workers. The lay assistants were instructed to submit the list of expenditures once a week, a sum­mary of accounts at the end of each lunar month, and a balance sheet at the end of each year.

Refectory hall (left), stone inscriptions (above) and the relic chamber (below) at Mihintale where Buddhism was introduced to Sri Lanka by Prince Mahinda, the son of Indian Emperor Ashoka, in 247 B.C.'

http://historyofmihinthale.blogspot.com

'Going green', a Power-point presentation.

Click on web-link below:-




http://youtu.be/3LiPSP2VshQ

The caves at Mihinthale, Anuradhapura, Sri Lanka.

Caves used by Buddhist Monks in ancient times.

Stone stairway leading to the 'Kanthaka Chaithya'.

‘In the 3rd century BC, area of Mihinthalawa was a thick jungle area inhibited by wild animals and was a hunting ground reserved for the royals. All this changed in 250 BC when the son of the Indian Emperor Asoka, Mahinda Maha Thero arrived at the Missaka Pauwa to meet king Devamnampiyatissa for the first time and asked the famous questions to decide whether he is intelligent enough to understand the philosophy of the Buddha. Initially Mahinda Maha Thero’s residence, but later Mihinthale became a main centre for Theravada Buddhism. Mihinthale is a collection of four mountains each about 1000 feet in height. They are 1.    Mihinthalawa 2.    Ath Vehera mountain 3.    Anaikutti mountain 4.    Rajagiri Lena mountain Mihinthalawa is the main mountain and where the Aradhana gala (The rock of invitation) and the main Mahaseya stupa is situated’.

http://www.angelfire.com/planet/heritagesl/mihinthalawa/mihinthale.htm

A flower seller at the beginning of the ascent to Mihinthale.

The 'Samaadhi Buddha statue', Anuradhapura, Sri Lanka.

The 'Samaadhi Buddha' statue.

Rear view of above.

A vandalized statue behind the 'Samaadhi Buddha' statue.

Statues were vandalized to seek for hidden treasure. Sadly it is a constant threat at present to the archaeological artifacts all over Sri Lanka.

Abheyagiri sights, Anuradhapura, Sri Lanka, Sankha, Padhma, Guardian Spirits.

'Padma Guardian Spirit''?

'Shanka guardian spirit'?

The above two statues are now installed on either side of the entrance to the Abheyagiri Dagoba.

'Sri Ram asked Agastya--'Who was Ravana -- the tormentor of deities? I am anxious to know about the origin of his whole clan."

Sage Agastya replied--Vishrava was the grandson of Lord Brahma. His father was sage Pulastya. Vishrava had two wives--Mandakini and Kaikasi. Mandakani's son was Kubera while Kaikasi was the mother of Ravana, Kumbhakarna and Vibhishan. Kubera ruled over Lanka. One day, Kubera, came to see his parents boarded on his aircraft--Pushpak Viman. After he returned to Lanka, Ravana, who was very much impressed by Kubera's royal appearances asked Kaikasi--"Who was this fellow? From where did he acquire such an amazing aircraft."

Kaikasi revealed to Ravana that the guest was none other than his step-brother Kubera. She said--"Kubera is the son of your step mother--Mandakini. He has made his mother proud by his conduct but I am ashamed of you, because of your inconsequential existence. You are no better than a worm."

Ravan decided to prove his mother wrong by acquiring insurmountable power and authority. Ravana went to the forest and performed an austere penance for ten thousand years by standing on one foot. He fixed his gaze at the sun and never for a moment did he remove his gaze from it. Kumbhakarna and Vibhishan also engaged themselves in austere penance. At last, Lord Brahma became pleased and blessed Ravana with a vast kingdom. Ravan then started tormenting his step-brother Kumbhakarna. He snatched Kubera's Pushpak Viman and drove him out of Lanka. Ravan then turned his attention towards the deities and drove them out of heaven. The deities went to seek the help of Lord Brahma who in turn took them to Lord Shiva. Even Lord Shiva was clueless about the means by which the indomitable Ravana could be subdued. Ultimately all of them including Lord Shiva went to Lord Vishnu and sought his help'...

http://www.bharatadesam.com/spiritual/padma_purana.php

'In the context of Hindu mythology, Nidhi, that is, a treasure, constituted of nine treasures (nawanidhi) belonging to Kubera (also spelt as Kuvera), the god of wealth. According to the tradition, each nidhi is personified as having a guardian spirit, and some tantrikas worship them. The nature and characteristics of nidhis have remained largely unexplained and have not been fully understood. According toAmarakosha, the nine nidhis are:

- mahapadma "great lotus flower"

- padma "lotus flower"

- shankha "conch"

- makara "crocodile"

- kachchhapa "tortoise"

- mukunda "a particular precious stone"

- kunda "jasmine"

- nila "sapphire"

- kharva "dwarf"

http://en.wikipedia.org/wiki/Nidhi

'Magic Pinsala' - 'The magic brush', A Sinhalese Children's play.

I made this video from a performance at the Town Hall, Avissawella, Sri Lanka. The performance was by the children of Sumedha Vidyalaya, Kosgama. The title of the play was 'Magic Pinsala' -- 'The Magic Brush'.  It tells the story of a child having a magic brush which brings to life everything that she paints with it. A feudal Lord forces her to paint a mountain of gems.  The child paints an island with a mountain of gems. On request she paints a boat for the Lord to cross across the waters to reach the island of gems. While the Lord and his retinue are in the boat, the child paints a severe tempest. The cruel Lord and his accomplices drown when the boat buffeted by the storm, breaks up.  I filmed this from the front row with no floodlights. The camera was a Nikon D90 in video mode.

http://youtu.be/xi6KvUUPtT0

Abhayagiri, Anuradhapura, Sri Lanka.

Abhayagiri Vihāra was a major monastery site of Theravada Buddhism that was situated in Anuradhapura, Sri Lanka. It is one of the most extensive ruins in the world and one of the most sacred Buddhist pilgrimage cities in the nation. Historically it was a great monastic centre as well as a royal capital, with magnificentmonasteries rising to many stories, roofed with gilt bronze or tiles of burnt clay glazed in brilliant colors. To the north of the city, encircled by great walls and containing elaborate bathing ponds, carved balustrades and moonstones, stood "Abhayagiri", one of seventeen such religious units in Anuradhapura and the largest of its five major viharas. One of the focal points of the complex is an ancient stupa, the Abhayagiri Dagaba. Surrounding the humped dagaba, Abhayagiri Vihara was a seat of the Northern Monastery, or Uttara Vihara.

The term "Abhayagiri Vihara" means not only a complex of monastic buildings, but also a fraternity of Buddhist monks, or Sangha, which maintains its own historical records, traditions and way of life. Founded in the 2nd century BC, it had grown into an international institution by the 1st century AD, attracting scholars from all over the world and encompassing all shades of Buddhist philosophy. Its influence can be traced to other parts of the world, through branches established elsewhere. Thus, the Abhayagiri Vihara developed as a great institution vis‑a‑vis the Mahavihara and the Jetavana Buddhist monastic sects in the ancient Sri Lankan capital of Anuradhapura.

http://en.wikipedia.org/wiki/Abhayagiri_vih%C4%81ra

Sights around Lankaramaya, Anuradhapura, Sri Lanka.