Kandyan period frescoes

The blanks of the Kandyan Frescoes have been filled with traditional flower patterns. Not only for filling blanks, these patterns have been used to decorate the Udu Viyan (Ceilings). As flowers, mainly lotus flowers are used. Instead of them, Pandanus flowers, Binara flowers, Beraliya flowers, Jasmine flowers have been used.

Almost all the paints which were used in Kandyan Frescoes were natural. Those were made up from trees, fruits, etc. mixed together with juices or oils. These were made by artists themselves.

40 Shades of paints used in Kandyan era frescoes by mixing white, grey and black to colors

Sadilingam, Ixora was mixed to get red color. Red color was also taken from red clay and rocks.

Yellow was made from mud limestone. Sometimes it was also made from Clusiaciae juice.

Blue color was made from Fabaceae. Sometimes sea sand was heated and mixed with Arrack to make black color.

This was made from mixing some blue powder with yellow color.

Dahamsonda Jathakaya, Kudakatunoruwa Reswehera Rajamaha Viharaya

White color was always taken by Makulu Meti, a white clay.

Golden was made by mixing limestone and golden limestone in same amounts. Or else it was made by mixing limestone with milk of CLUSIACEAE, mercury, white lead, Seenakkaran, and Salt.

Black color was made by mixing charcoal of coconut shells with Dorana Oil.

Dahamsonda Jathakaya, Kudakatunoruwa Reswehera Rajamaha Viharaya

Brushes was made by the artists themselves. A grass type called Theli was used for this. The hair from the tails of cats and squirrels, hair from downside of deer, horses and stags, beard of cats have been used for this. Even camel hair sometimes. These were tied to a handle and then used. Some popular artists have been offered from golden handles from king.

A fresco at Akurassa Godapitiya Rajamaha Viharaya

First, if it is in a cave, then it is roughed and then plastered. This plastering was made by clay and hay. Then a layer of white clay is plastered. Then after clothes were pasted and then started to paint.

The wall was divided into horizontal rows in Kandyan Era Frescoes. A small space was left between two rows to write the story. Sometimes it was written in the fresco in a rectangle. The height of the row varies from 30" to 40" range in low country, while some upcountry temples have range of 5"–6". Then after the fresco was painted.[2]

1. Temple of the Tooth
2. Degaldoruwa Temple
3. Madawala Tampita Viharaya
4. Gangarama Temple – Kandy
5. Ridi Temple – Kurunegala
6. Suriyagoda Temple
7. Theldeniya Bambaragala Viharaya
8. Nilagama Thissamaharama Rajamaha Viharaya
9. Yapahuwa Rajamaha Viharaya
10. Gampola Lankathilaka Viharaya
11. Mahanuwara Gangaramaya
12. Matale Dambawa Rajamaha Viaharaya
13. Dehipagoda Agrabodhi Viharaya
14. Makulugaswewa Budugehinna Viharaya
15. Kundsale Viharaya
16. Isurumuni Rajamaha Viharaya
17. Dodanthale Viharaya

A low country Kandyan Era fresco

are some temples with Up Country Kandyan Era Frescoes. These frescoes are very simple and anyone can easily understand the story. But there are Minor European Influences. For an example, the 'Demons' of the fresco of Mara Parajaya are holding European Guns.

1. Kathaluwa Viharaya
2. Subodharamaya – Karagampitiya, Dehiwala
3. Mulkirigala Temple
4. Walalgoda Temple
5. Samudragiri Temple
6. Kadolgalla Subdraramaya
7. Pathgama Rahularamaya
8. Kosgoda Ganegodalle Viharaya
9. Thotagamuwa Subadraramaya
10. Welihnida Sudarshanaramaya
11. Ambalangoda Sunandaramaya
12. Thelwaththe Aluth Pansala
13. South Kaluthara Duwe Pansala
14. Mihiripanne Ariyakara Viharaya
15. Hikkaduwe Jananandaramaya
16. Koggala Dewala Building
17. North Payagala Ethagama Sumananramaya
18. Bambarande Kurumbure Viharaya
19. Matara Walgama Kotikagoda Viharaya

A fresco at Muruthawela Sri Narendrarama Viharaya

These are very complex and a bit hard to understand. Here there are many European influences. For an example, these frescoes contain ladies who wearing frocks and gentlemen who are wearing trousers, Western style houses, etc.[1]

A fresco at Dehiwala Sri Subodharamaya

An artist was a person who was well respected in the society at Kandyan era. Kings also gave their patronage to artists. There is a folk story about an artist in Kandyan Era.

"One day, Devaragampola Silvath Thana, the chief artist who worked in Dambulla Renovations was on the scaffolding, painting. Not able to go out to split out wad of betel he was chewing as he worked, he called out his henchman and handed it down to be thrown away. Then that person threw it out and came back, asked from the artist 'How long have you been up there to have chewed such a lot of betel?'. The artist tilted the flame and peered down as the voice was not that of his attending henchman. It was the king..."[3][4]

This story shows how much the king respected artists at that time. So the respect of the society is clear. It is told that the artist is the only person who could ever bear the king's crown in Nethra Mangalya.

A fresco a Sri Wanasinghe Viharaya

• Rev. Mawanelle Devaragampola Silvath Thana
• Rev. Katuwana Thero
• Rev. Waththawe Thero
• Nilagama Patabandi Devendra Mulachari
• Nikawewa Pahalawaththe Ukku Naide
• Kumbepitiye Patabandi Vidanelage Naide
• Wadugama Wijepala Muhandiramlage Neththa Naide
• Deldeniya Hiththara Naide
• Hiriyale Naide
• Koswaththe Hiththara Naide
• Ambulpure Muhandiram
• Nilagama Bodhinarayana Chithrachariyage Ukku Naide
• Bodhinarayana Chithracharayage Kapuru Naide
• Patabandige Abharana Appu
• Upasaka Gedara Kirihami
• Delmadu Mulachari
• Gampola Navarathna Patabandi
• Yapahuwe Gannoruwe Muhandiram
• Marukona Rathnabarana
• Rideegama Menik Appu
• Ambakke Deva Surendra Muhandiram
• Kadolgalle Heemappu Maha Siththara
• Devundara Andiris Siththare
• Garanduwe Batuwita Siththare
• Mangalathiriye Siriya Gurunnanse
• Ahangama Dingiri Siththare
• Kiriappu Ganinnanse
• Devundara Punchappu Gurunnanse
• Madiwaka Siththara Naide
• Hathkorale Siththara Muhandiram
• Nuwarakande Serugolle Hiththara Naide[2]
  

  A New European Realistic Style Fresco painted on an Kandyan Era Fresco