Sita Eliya & its Legends

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he opinions of the few notwithstanding, that the Lanka of Ravana lies submerged in the sea, Ceylon is full of reminiscence which unmistakably link scenes and stories with king Ravana and his days, scenes places all over the central uplands of Ceylon amid the gorgeous setting of the thickly wooded hills & the glorious valleys below. Intimately associated as these are with Ravana and his deeds and with stories if Sita in her sojourn in Lanka, they leaved no doubt in the mind of the student of folk culture that king Ravana’s Lanka is essentially the Ceylon today.

Ravana Ella Cave

Among such scenes & sights, is the Ravana Ella cave, traditions relating to the cave are rife all over the highlands of the district of Bandarawela. Mystery surrounds the cave, “where elephants go to die” as the folk say. The cave, hard and arduous to reach, may well have been a secret stronghold that it is supposed to have been in the legendary days, with a rest house in the Ella pass, up the zig-zag paths of which one climbs until the rocky walls of the pass gradually close in and Ravana’s cave comes to view amidst towering mountainous primeval geologic formations.

About a mile away, is the Ravana Ella or Ravana’s waterfall with a drop of 90 feet following in to the valley below. With the heavy rains that fall during six months of the year, much of the cave floor is damp. Advancing inside, the roof of the cave closes in. and crown of the head grazes the roof of the cave. The tradition of the secret passage stands discredited, recent explorations of the cave showing no way out. Whether a secret passage existed or not, Sita Eliya holds the key to the story of the days of king Ravana more than indeed any place in Ceylon.

Siat Eliya – The Plains of Sita

Redolent of stories of Sita’s life Ceylon in is Sita Eliya (the plain of sita) a charmingly undulating plain, fringed with thickly wooded hill ranges, picturesque waterfalls and silvery rivulets rushing downhill sides, dotted with rhododendron bushes tipped with clusters of crimson flowers. Beyond are the steep mountain ramparts with the thickly wooded tops, the haunts of the leopard and the sambhur. A vast amphitheatre of hills and deals, if the classic Trikuta Mount of Ramayanaya is anywhere in Ceylon, it is here, the glorious city and palace of king Ravana with its fortress, its lovely groves and terraced Gardens, a true reflection of which may be seen today in the nearby Hakgala Gardens with its charming wooded glades cleverly reclaimed & fashioned by the hands of man. A situation commanding as it does the natural approaches to the valleys on all the four sides- the Kotmale to the North East, Uva to the South East, Dambulla to the West & Uda Pussellave valley to the East, no more favorable site could have been chosen by the Rakshasa king for his fortified mountain capital.

Note worthy for the many features which find a true reflection today, is the reference in the Ramayanaya to the “little bells suspended from trees” which made music in the breeze” an appliance the various forms of which may be found distributed all over the hill county of Ceylon today. The simplest of such tree top appliances is the “ Bambraya” as it is popularly called, meaning, a “top” working as it does on the technology of a top turning on a pivot, a single noduled hollow reed within which turns a short upright stem from which branch two thin flat wooden blades set oblique on either side. This appliance is tied to the top branches of trees standing out as a conspicuous feature of the landscape as the blades turn in the wind, a whirring sound is heard. Slow at first, the sounds gains in intensity as the blowing grows strong.

In additional feature is a small reed whistle attached on either side of the blades. As it blows, the wind automatically works the whistles producing the characteristic whistling note in conjunction with the whirl and the whir of the turning blades. Rarely too, a tiny bell is tied to the Bambaraya as in a specimen collected in a Kandyan village.

These humble appliances serve the purpose today of denoting the direction of the wind as also of a device for scaring away crows and birds from vegetable and grains plots. That the early beginning of such appliances, collectively belonging to the class if Aeolian musical instruments may be traced to the days of king Ravana, is a conclusion we may justifiably draw from  the references in the Ramayana.

A Sinhalese Village

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 Sinhalese village is not a “village” in the sense of crowded assemblage of houses. Such villagers may indeed be seen in Ceylon in the dwellings of the erstwhile tribes, the Rodiya, the Kinnaraya & the Veddha- as also the villages of the functional service communities, the Beravaya (the nekati), and the kumbalkarya, the potter. These groups apart, a Sinhalese village is territorially extensive. Each house bog or small stands in its own grounds, thickly grown with an assortment of trees and plants, notably the coconut, Jack, plantains & yams, breadfruit and other trees and plants of economic value, or of no value at all.

Every village has its highland of houses and gardens, with either a chena as in the Dry Zone grown with seasonal crops, or paddy plots as in the wet zone. The number of houses in a village varies according to its extent irrigation facilities & topography. Round each homestead is a live fence, with or without a style at the front with two or three cross-bars. One step into the premises of the house crossing the style, or by letting down one or two of the cross-bars. The house has an open courtyard. A long front veranda is a feature of most houses, big or small. This gives to the living room.

Food Habits

Food habits are more or less the same for all classes, a morning meal generally of hoppers (Appa), pittu or string hoppers, with hot fish or meat curry, or the pol sambola alternatively, kiribath (rice cooked in coconut milk) and tea, mid-day meal of rice & spicy curries & the night food of rice & curry repeated, not generally so heavy or sumptuous as the mid-day meal. Both fish & meat are generally not served at the same meal. Boiled or curried jack, bread-fruit, manioc & tubers from part of the menu of an average noon time meal. In the southern province, curds & honey, is the favorite last course. The curd is of buffalo milk and the honey, the delicious honey of coconut toddy. The making of honey of the coconut toddy, is a specialty of the Sinhalese peasant of the south.

Chewing the betel, with Arecanut, and the lime (Chunam) comes at the finish of every meal. It is indeed a habit so inherent in the villager, that there is scarcely awaking moment he is not without the quid of betel in his mouth. In this he is one with the south Indian villager. Those used to it, and to the flavor by a small quid of tobacco taken with the betel. The spittle, colored red, is spat out & seldom swallowed.

Normally cleaner that the man of the town, the villager is fond of elaborate & daily baths, in the tanks which dot the country side, running streams, or in the quiet retreat of shady pools. After the bath the hair is combed and oiled, secured in a shapely knot (The Konde) at the back of the head. Women let the hair loose to dry, before doing up the konde (hair).

The pintaliya & pahan pela

The pintaliya or the water pot is among the wayside feature of rural Ceylon. True to Buddhist traditions, it reflects concern for the weary travelers. Simple as the idea is the water vessel, its disposition & equipment, has a certain technology about it.

At nightfall the villagers in Ceylon light a coconut oil lamp on a stand in the garden, the pahan pela by the side of the house. The idea is to propitiate the “Huniyam Devatawa”. The premises are kept clean. Prosperity is supposed to follow the visit of the God of the night. In essence a ceremonial light to the Gods, in form it varies from the very simple to highly elaborate patterns.

Areca nut & Betel Leaf

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he Areca nut is the most graceful & delicate of the Sri Lankan palms. It rises to a height of fifteen to twenty meters, with a smooth, slender trunk which is green towards the top and sustains a crown of feathery foliage in the midst of which are clustered the small, soon nuts for whose sake it is so carefully tended.

The chewing of the Areca nut with lime & a betel leaf provides the people of Sri Lanka with the same enjoyment afforded by tobacco the inhabitants of other countries. However, like tobacco, the habit his dwindling. The origins of the custom probably lie in some sense of utility. The “Chew” unconsciously provides a perfect prescription compounded to give the practical combination of antacid, tonic & carminative.

The Betel Leaf

The Sinhalese first made contact with the west, in the shape of the Portuguese soldiers who arrived in 1505; they reported to the king of “kotte” that the Portuguese drank blood. This was actually the red wine, which Portuguese consumed in great measure. Western observes the Sinhalese referred to their habit of chewing s green leaf which made their mouths bleed. The so-called blood was the deep red coloring which results when betel leaf and areca nut are chewed.

Betel chewing is common to many Asian countries, but nowhere is the betel leaf so involved in the life of the people as in Sri Lanka. It is prominent in every major event in the life of a Sri Lankan and at all social functions. A sheaf of betel is a must when a guest is invited to a wedding or another important occasion.

Children give it to their elders at the New Year. People forget their past difference with a gift of betel. When an arranged marriage takes place, he prospective groom identifies his bride to be at her house by the tray of betel she carries to offer to guests a sheaf of betel leaves is also a necessary gift when consulting a physician, a Buddhist monk or an astrologer. As a sign of plenty, betel leaves are placed on the nuptial throne or poruwa. At Sri Lankan wedding, together with rice & coconut. Sorrow is also show with betel. The announcement of a funeral requires the sheaf of betel to be offered with the leaves turned down.

Most Sri Lankan homes have a hand crafted betel tray of brass, known as the “heppuwa”, for special occasions.  Outside the main cities, a full tray of betel is standard in every home to provide a chew for anyone who passes by. A chew of betel comprises of betel leaf in which is wrapped some pieces of Areca nut, coften but wrongly, called betel nut, a little slaked lime & some tobacco leaf. The mixture makes the mouth red and the breath fresh &, to the novice, it is heady. In olden times, women chewed betel to make their lips red.

Betel is also not surprisingly, part of the ayurvedic (traditional medicine of Sri Lanka) pharmacopoeia. A warm betel leaf is used to soothe aches away. Often, medicinal oils are applied with the betel leaf, which is also included in many medicines.

Sri Lankan Batik

Over the past several decades the Indonesian art of batik making has become firmly established in Sri Lanka. Indeed, it is now the most visible of the island’s crafts. Galleries and factories, large and small, have sprung up in many tourist areas. For instance, rows of small stalls selling batiks can be found all along Hikkaduwa’s Galle Road strip. Mahawewa, on the other hand, is famous for its Sri Lankan Batik factories.

Batiks incorporate fascinating motifs and colours, some traditional others highly contemporary and individual, but they all display a vigorousness of design unique to the island. The material created by the batik-makers is used to produce distinctive dresses, shirts, sarongs and beachwear ideal for tropical climes. Many tourists at seaside resorts such as Hikkaduwa; wear batik clothes throughout their holiday. Apart from clothes; Handmade Batiks, Table Clothes, Wall Pictures, Beach Clothes, Pure Cotton & Silk, Mens & Ladies Wears, Bed Covers are popular as a reminder of a visit to SriLanka.

The process by which batik is produced consists of the multiple waxing and dyeing of cloth. First, the desired pattern is drawn on a plain piece of material. Molten wax is then applied to those areas of the cloth that are not to be dyed. Next, the material is immersed in the required dye and washed when the colour has set. If more colours are desired, the process of waxing and dyeing has to be repeated. Originally, when batik making was a cottage industry, one artist created the entire batik from start to finish.t to finish.

Ceylon Tea History

It was as far back as the year 1824 in which the British brought a tea plant from China toCeylon (as Sri Lanka was known at the time). It was planted in the Royal Botanical Gardens, Peradeniya and is considered to have been the first non-commercial tea plant in Sri Lanka.

After nearly two decades in 1867, James Taylor, Scottish by origin, planted 19 acres of tea in the city of Kandy in Ceylon, at the Loolecondra Estate as the first commercial tea plantation. The eventual sale of Loolecondra teas resulted in 1872, in Kandy and the first tea consignment to London in 1873. These pioneering efforts were done by trial and error and improved over the years via the introduction and improvement of tea processing machines and methods, by different individuals and companies.

The first broking firm John Brothers & Co. was established in 1876 and the first public Colombo auction took place in 1883 under the guidance of the Ceylon Chamber of Commerce (which was established in 1839). The Colombo Tea Traders' Association was formed in 1894 and in 1925 the Tea Research Institute was established. These organizations helped boost the production and export of Ceylon Teas in its early stages

Milestones

• One million tea packets sold at Chicago World's Fair - 1893
• The prohibition of export of poor quality teas - 1932,
• Ceylon as world's largest tea exporter for first time - 1965
• Establishment of the Sri Lanka Tea Board - 1976)
• Export of Tea Bags – 1976
• Export of Green Tea – 1982
• Abolition of Tea Export Duty and Ad Valorem Tax- 1992
• Establishment of Tea Research Board - 1992)
• Ceylon tea production exceeds 300,000 metric tons – 2000

Quick Facts

• Chinese Emperor Shen Nung accidentally discovered tea in 2737 BC
• Tea is the most popular beverage, next to water, in the world.
• In the U.S. approx. 1.42 million pounds of tea are consumed a day
• Approx. 3 billion cups of tea are consumed daily worldwide.
• Four pounds of fresh tea leaves produce one pound of dried tea.

The “Old Parliament” Where Governance and Democracy were Nurtured

Travelling past Colombo's Galle Face Green towards the area known as Fort, a cityscape looms. In the background, silvery skyscrapers and cream-coloured buildings dominate. 
In the foreground, however, the roving eye is attracted to a building close to the sea whose dimensions are in complete contrast, being several hundred metres long and only three storeys high. More significantly, the architecture is neo-classical, incorporating colonnades and the use of striking brown granite. The structure is a typical instance of the official British architecture employed in Asian colonies to reflect imperial glory.

The architecture is neo-classical, incorporating colonnades and the use of striking brown granite. a typical instance of official British architecture employed in Asian colonies to reflect imperial glory

The building today, commonly referred to as the "Old Parliament", accommodates the Presidential Secretariat and the Office of the Executive President, the latest in a catalogue of political and administrative incumbents. The idea for such an edifice was suggested in 1912 by Governor Sir Henry McCullum to house Ceylon's Legislative Council, formed in 1833 with 49 members, which met in the building opposite the picturesque (but now inaccessible) Gordon Gardens. However, it wasn't until 1920 that a proposal by a special committee to construct a new building for "the Secretariat, Council Chamber and Government offices on reclaimed land at the northern end of Galle Face" was officially accepted.

The chief architect of the Public Works Department, Austin Woodeson, a Fellow of the Royal Institute of British Architects (FRIBA), was logically chosen to design such an extensive and complex building. Because the site- located between the now-demolished Echelon Barracks and the Beira Lake -was reclaimed, Woodeson prudently constructed the foundations using heavily reinforced concrete piles. The rare brown granite was obtained from a quarry near Ruwanwella, 65km east of Colombo, and transported in barges down the river named the Kelani Ganga and into the Beira Lake via a canal so that it could be conveniently unloaded adjacent to the site. In fact this beautiful granite, which takes on a red hue when illuminated by the dying rays of the sun as it sinks into the Indian Ocean, was used only in the construction of the ground floor due to its high price. Above, a blended plaster that matches the granite colour hides the more ordinary stone beneath. To strengthen the structure, Woodeson inserted a steel framework to support the walls and decided that the floors and columns should be made of concrete.

His revivalist architecture integrated exquisite columns of the classical "Ionic" design, gently fluted towards the capital with a representation of two opposed scrolls. The façade of this magnificent building has an entrance reached by ascending many flights of broad steps. At the top are six columns supporting a traditional triangular pediment, and on either side are four more columns. Along the length of the structure is a series of colonnades, a pair with eleven columns each. The building has been aptly described by Sri Lankan architectural historian Ismeth Raheem as a "masterpiece in stone".

Woodeson gave the building an open outlook so it would receive the maximum benefit from cool breezes. He was also wise enough to locate the Council Chamber on the east side of the building, away from the noise of the sea and sheltered from the afternoon sun. Incidentally, the initial estimate for the construction was 400,000 rupees, which was later revised by the Public Works Advisory Board to 450,000 rupees.

Great care was taken by Woodeson with the interior design, in particular the working environment. Cork carpet and linoleum were used to minimise noise. Lighting is indirect and secluded. Within the Chamber, the acoustic properties are as perfect as possible. Ventilation was provided by air propelled into the building by basement fans. Under members' seats were adjustable grills through which the air flowed, thus eliminating the need for electric fans that so easily disturb public speaking. 
In addition, the illumination of the upper portion of the Chamber is achieved by means of the reflection of floodlights fitted outside the topmost windows.

The building was declared open as the Legislative Council on January 29, 1930, by Governor Sir Herbert Stanley. He expressed the desire that "all the deliberations, which will be conducted within these walls may serve to weld the several communities and classes of the population together into an organic unity of national life and national progress, not by the suppression of varying traditions but by their co-ordination on a basis of mutual respect."

A year later, with the demise of the Legislative Council, the building housed the successive instrument of governance, the State Council of Ceylon, consisting of 61 members. In The Real Ceylon (1939), 
C Brooke Elliot reveals how simple it was to witness the proceedings. "If the Council is actually sitting, an application by the visitor to the Speaker will meet with courteous reception and secure a seat in the Speaker's Gallery, situated over the clock. From such a position an excellent opportunity is provided of seeing and hearing all that goes on in our Ceylon Parliament."

Nowadays there is nothing other than passing traffic to diminish the view of the Indian Ocean from the west-facing frontage of the Old Parliament. But during those early years in the 1930s there was a former guardroom on the seafront, almost washed by the waves, that served as the headquarters of the Boy Scouts Association of Ceylon.

The next change in governance occurred in 1947 when the House of Representatives, which eventually comprised 157 members, was formed. On February 4, 1948, Ceylon gained Independence from Britain and the Duke of Gloucester opened the first self-rule sitting of the House. Fittingly, the building was renovated and Britain's Royal coat of arms that adorned the centre of the impediment above the entrance was replaced by the coat of arms of the Dominion of Ceylon. The following year saw the presentation by Britain's House of Commons of the Speaker's chair and the symbol of authority, the mace.

After the 1972 Constitution was adopted the National State Assembly was formed with 168 members, and the coat of arms of the Dominion of Ceylon was replaced by that of the Republic of Sri Lanka. Just six years later though, in 1978, the Constitution of the Democratic Socialist Republic of Sri Lanka was introduced and the present Parliament was formed, which comprises 225 members.

Each of these changes required some structural alteration to the building to contain the increasing number of members. Eventually the need for larger premises became imperative, so the construction of a new Parliament complex at Sri Jayawardenepura Kotte was authorised in 1979. Consequently in 1983 the building that had housed the Island's legislature for 53 years was vacated. The architect of the new Parliament was the internationally-renowned Geoffrey Bawa. Not surprisingly, his design is far removed from the Old Parliament, being a style of regional modernism that nevertheless respects the Island's vernacular architecture.

Since 1983 the Old Parliament, as mentioned earlier, has functioned as the Presidential Secretariat and the Office of the Executive President. This is where all important official announcements are made and appointments of state administered. The building, especially the former Council Chamber, is also the venue for various state functions. In addition, the letters of credence of arriving ambassadors and high commissioners are accepted here by President Mahinda Rajapaksa.

Whatever name is or has been applied to it, this building is of paramount importance. Where architecture is concerned, it is arguably the most adventurous and impressive British official building constructed in Colombo. This is no mean feat considering the quality of contenders such as the Capitol Hill-influenced Town Hall (Woodeson chose the design by SJ Edwards of Singapore from 32 received from British architects in the East) and the Italianate National Museum (designed by James Smither, Woodeson's predecessor at the Public Works Department).

Whatever name is or has been applied this building is of paramount importance. Where architecture is concerned, it is arguably the most adventurous and impressive British official building constructed in Colombo

More significant is the comparatively short yet fast-changing and absorbing political era the Old Parliament symbolises, which straddled Independence-the final struggle for self-rule followed by the evolution of a fully-fledged Parliament. Providentially Woodeson conceived a building with a highly satisfactory environment for enlightened debate and imaginative decision-making. Indeed the Old Parliament was where the Island's modern governance and democracy were nurtured.

What Is Sri Lankan Traditional Ayurveda ?

Sri Lanka is one of the famous destinations for traditional Ayurveda treatments and for retreatment accommodations related to Ayurveda treatments. The word Ayurveda is derived from Ayu, meaning life, and Veda meaning knowledge. Ayurveda, a traditional form of healing believed to have originated over 5000 years ago and is known to be the oldest healing science in the world. However, Ayurveda is more than just a medical system; it is a total science of life.

This system of medicine is embodied with the principles of nature which helps maintain good health in a person by keeping the mind, body, senses and soul in perfect balance. Ayurveda is based on the principle that the universe is made up of the five elements Air, Fire, Water, Earth and Ether represented in the human body as "Doshas" (Energy); namely Vata (Air and Ether), Pita (Fire and Water), Kappa (Water and Earth) whose distinct balance would determine good health and well-being. Therefore, Ayurveda works on achieving the right balance of the three Doshas (Tri-Doshas) by promoting correct nutritional guidelines and healthy life-style. Enjoy the ancient art of rejuvenation and healthy living.

Ayurveda; this holistic art of medicine was fully supported and developed by the Kings of ancient Sri Lanka, who were famous physicians themselves. They considered the art of healing as a very important aspect for the well being of the people. This could be witnessed even to date in all parts of Sri Lanka where ancient rock inscriptions, remains of hospitals, hospitals and treatment centres are available. This is ample proof of a well organized medical system.

Today Ayurveda in Sri Lanka is very advanced by way of well established hospitals, hotels, resorts, health spas, and wellness & treatment centres. If treatment for an ailment is desired then a visit to these centres needs a careful study of the patient so as to understand the root cause to restore the balance and prescribe appropriate treatment thereafter. There are also the hotels and health resorts that promote herbal massage and treatments using medicinal leaves, flowers, barks, root, stems, seeds and berries along with milk, honey, pearls, shells, and iron, gold, silver and copper are used to make herbal decoctions, oils, pastes, ointments etc.

These preparations produced after a long and tedious process of being hand-ground in pestles, whereby the juices and oils are extracted, simmered and strained for use in herbal massage, and baths such as head massage, head oil bath, herbal steam inhalation, face massage, foot massage, neck and shoulder massage and body massage and treatments such as flower, water, oil and steam baths etc; carried by qualified masseurs under the guidance of an Ayurvedic Medical Practitioner or Spa treatment specialist.

This traditional form of caring and curing has gained immense popularity because it deploys only natural ingredients from plants, animals and the earth in its cures, thus promoting effective alternatives without side effects normally experienced in western medication. Let the goodness of warm oils, fragrant steam, and rich herbal paste seep into your body and enhance your mind and soul. Be pampered, let your nerves calm, let your body and mind relax, while the toxins are drained away; be exfoliated, massaged and treated to this wholly natural holistic experience, all this with the mystic aroma of fragrant herbs, soothing music and a cup of herbal tea for company.

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Independence Day of Sri Lanka

4^TH FEBRUARY IN 1948

Prior to the year 1972, Sri Lanka was known as Ceylon. For more than a century Sri Lanka was a British crown colony but on 4 February, 1948 the country achieved its independence to officially become the Democratic Socialist Republic of Sri Lanka. The independence day of Sri Lanka is a great national occasion celebrated with parades and pageants combined with the spirit of patriotism and national pride. The celebrations begin with the hoisting of the national flag and singing the national anthem, followed by the traditional lighting of the lamp ceremony. Subsequently there are various cultural programs. This national day holds much significance for the people of Sri Lanka as it reflects the history of great sacrifices made by many Sri Lankans in the Attainment of its freedom. It is the day to pay tribute to the armed forces that played a major role in the country's freedom struggle.

The Sri Lankan independence movement was a peaceful political movement which aimed at achieving independence and self-rule for Ceylon from the British Empire. It was initiated around the turn of the 20th century lead mostly by the educated middle class and ultimately was successful when February 4, 1948 Ceylon was granted independence as the Dominion of Ceylon. Dominion status within the British Commonwealth was retained for the next 24 years until May 22, 1972 when it became a republic and was renamed the Republic of Sri Lanka.

In 1848 the abortive Matale Rebellion, led by Hennedige Francisco Fernando (Puran Appu) and Gongalegoda Banda was the first transitional step towards abandoning the feudal form of revolt, being fundamentally a peasant revolt. The masses were without the leadership of their native King (deposed in 1815) or their chiefs (either crushed after the Uva Rebellion or collaborating with the colonial power). The leadership passed for the first time in the Kandyan provinces into the hands of ordinary people, non-aristocrats. The leaders were yeomen-artisans, resembling the Levellers in England's revolution and mechanics such as Paul Revere and Tom Paine who were at the heart of the American Revolution. However, in the words of Colvin R. de Silva, 'it had leaders but no leadership. The old feudalists were crushed and powerless. No new class capable of leading the struggle and heading it towards power had yet arisen.

Celebrations There are also dances, singing and performances that showcase national unity and culture. Religious observances are also made in many places of worship around the country, wishing for peace and prosperity to the country, people and the tri-forces. The national media also try to promote ideas such as bravery, confidence, dedication, national unity, patriotism, nationalism, peace, national responsibility and awareness of national history in the minds of people.

List of Sri Lankan independence activists

• ·         Colvin R. De Silva
• ·         Marc Anthony Bracegirdle
• ·         Gratien Fernando
• ·         William De Silva
• ·         Philip Gunawardhana
• ·         Pieter Keuneman
• ·         N.M Perera
• ·         Sir Edwin Wijayarathne

This Is Sri Lanka Precious Annotation by Mr. Clive Snooks

Having now lived in Sri Lanka for almost three years, i am not sure I am any longer qualified to write as a guide to tourists.

However here goes.

The diversity of this country is its real beauty. By diversity I am talking about everything, not just the dramatic changes in the landscape, the very different climatic regions, the flora and fauna but the cultural diversity of the people. All the different sectors of society live side by side, yes many different religions and ethnic backgrounds, different political outlooks, different levels of education and of course differing incomes. There is peace and harmony amongst most, there are flare ups but they are few and far between, there is racism but it is controlled and rarely raises its ugly head.

A book I read called The Village in the Jungle by Leonard Wolfe, written in the last century bought alive Sri Lankan village life. An extreme version but not greatly changed even today. The sad thing I find about the culture here is the way local people treat each other on occasions. India has its caste system, Sri Lanka has its own but its not named, you have to be a local to understand the pecking order.

I have been fortunate to live in different areas of the country. The beauty of Mahakanda, the simplicity of the village life in the hills. The kindness and friendship shared amongst the local people also endowed on the strange Sudo who was at the time the only foreigner living there, yes me. having two Golden Labradors who were walked daily through the amazing hillsides i was hard to miss. Many were very frightened at first but the dogs became well know in the area and all the local children loved to pet them.

The Galle area is certainly up and coming and becoming not just an important tourist destination but a creative hub, driven to a certain extent by the large ex-pat population. The last year has seen a drive to form a community shared not just by the expats but the locals as well. it will be interesting over the next year to see how far it spreads.  

I still think tourists here have more appreciation for what this country has to offer  than local people, maybe they just take it for granted or do not have the ability to see as much as a tourist does. New eyes make for appreciation of the ancient wonders, the amazing flora and fauna and of course the local culture.

Everyone should read some of the countries contemporary writers, I have been pleasantly surprised by how much I have learnt of the social history , very surprised by the broadmindedness of some given this is such a conservative country.

I have had many friends visit me here, most annually come back, not just to see me but re-visit paradise. Each trip opens their eyes to the wonder of the Island.

Birds Of Ceylon

The birds are Ceylon  are enchanting. To begin with garden birds in the low country, the commonest are the Magpie Robins (Polkichcha), Red – vented bulbuls (Kondays), the Mynah the House Sparrow (Ge kurulla), the ubiquitous Crow (Kakka), Sun birds & the seven sisters. And in the trees, green barbets that hammer out hesting holes, like the woodpeckers (Kottoruwas), the lovely black headed Orioles, with lovely flutelike notes & a flash of golden yellow & the red-backed wood peckers. Graceful terns & brown headed gulls (Lihiniya) invade the harbor & Brahmin kites’ wheel overhead. As many eighty or more different species of birds have been recorded within the confines of Colombo.

But to see the abundance of birds life in Ceylon one has to go to the more secluded areas & to the lakes or tanks scattered throughout the island. Within the shores of Ceylon no birds have been authenticated. Of these twenty one species & eighty one sub species or geographical races are (according to W.W.A Phillips in his birds Ceylon) endemic to Ceylon & do not occur beyond our shores.

Ceylon being only about 48.28km from India, it is not surprising that most of the birds found in Ceylon are the same as. Or are closely related to those found in India. Of the three hundred & ninety eight birds listed in Ceylon, one hundred & thirty four are resident both in India & Ceylon. One hundred & fifty two species visit Ceylon in their thousands, during the winter moths only, that is during the months which have an “r” to escape the northern winters, living in Ceylon jungles, swamps, lagoons & paddy fields.

Examples of birds indigenous to Ceylon are: the Ceylon blue magpie, spotted wing thrush, Ceylon warbler, Ceylon grackle, yellow eared & black headed bulbuls, Ceylon large white-eye, legge’s flower-pecker, yellow- fronted barbet, red-faces Malkoha, Ceylon lorikeet, Ceylon jungle fowl & Ceylon spur fowl.

Birds found only in the low country of Ceylon include. The Ceylon large parakeet, the rose-ringed parakeet, green bee-eater & most storks, plovers, sun birds & sand pipers. Those that flourish in the cool climate of the hills include the blue magpie, yellow-earned bulbul, Ceylon warbler, grey wagtail, Ceylon Munia, hill swallow & the mountain eagle.

The bulbuls, babblers, wood peckers, barbets & parrots are resident birds. Many kind of flycatchers, warblers, all the wagtails, the Indian Pitta & most of the shore birds (plovers, snipe & sand-pipers) are winter migrants.

The Ceylon little minivet is found all over the island except in the highest mountains. It is a brightly colored bird which lives among the tree tops. The orange minivet is found mainly in the hills & is a beautiful sight. The spotted wing thrush, which is found only in Ceylon, lives in the jungle in the both low-country & the hills, it sings beautifully.

Paradise flycatchers are known for their beauty, long tails & jaunty crests. The white-browed flycatchers dance in a very pretty manner & sing a quaint little tune.

Ceylon black headed oriole is one of the best known of our birds. Its lovely colors & rich notes are characteristic. The Ceylon swallow & the hill swallow are resident birds. But the East Asian swallow comes to the island in a large numbers from countries north of India..

These are a variety of Ceylon woodpeckers. They lay their eggs in the hole which they dig in trees of palms. Barbets are brightly-colored fruit-eating birds of the tree tops. The Ceylon small barbet (Mal Kottoruwa) is sparrow-size & is found throughout the low country wet zone & in many areas of the dry zone & lower hills. The barbets, like woodpeckers, dig nest-holes in the dead trunks & branches. The Indian Pitta comes to Ceylon from India during the North-East monsoon.

The pin-tail snipe nests in northern India & comes to Ceylon in large numbers about September, departing in April. Ceylon is ricy in beautiful kingfishers. They live mainly on fish which they catch by plunging in to ponds or streams.

Of the cuckoo family, the beautiful red-faced Malkoha is found only in Ceylon jungles.

The commonest owl in Ceylon is the collared scopes owl. Ceylon has many numbers of the pigeon tribe. There are three kinds of fruit eating pigeons: the pompadour green pigeon, the Ceylon orange- breasted green pigeon & the Ceylon yellow-legged green pigeon. The Ceylon ash dove is found almost everywhere except in the highest hills.

The Ceylon jungle fowl is a handsome bird but is getting scarce with the opening of the jungles for food production. It is found only in Ceylon. The Ceylon spur fowl is also found only in Ceylon.

The Indian pea fowl is found wild in many of the dry zone scrub-jungles of Ceylon. The male spreads the fans of his tail to dazzle in the sun. Its cry is a loud trumpet-like scream.

The mud flats of the especially in areas uninhabited by man abound in storks, herons, spoonbills,  egrets, flamingoes,teal,duck terns & gulls. 

    

National Flower of Sri Lanka

‘Manel’ (Nymphaea nouchali)

The National Atlas of Sri Lanka (1st Edition published in 1988 by the Survey Department - Chapter FLORA by A.H.M.Jayasuriya, pp. 52-53) clearly mentions the National Flower of Sri Lanka with a colour photograph of the correct species (This flower was photographed in February 1988 and the location was the drying up and muddy periphery of the Hinukkiriyawa wewa between Habarana and Kekirawa). The 2nd Edition of the National Atlas (2007) also mentions the National Flower of Sri Lanka, although the original photograph was not reproduced (Chapter FLORA by A.H.M Jayasuriya, p.76).

An early aesthetic depiction of ‘Manel’ flowers, albeit without technical accuracy, is found among the Sigiriya frescoes (5th Century). ‘Manel’ flowers have been painted on the hairdo of some female figures (‘apsaras’ or celestial nymphs) and on floral salvers held by them [Central Province Biodiversity Profile and Conservation Action Plan by A.H.M.Jayasuriya, published by the Ministry of Environment & Natural Resources, pp. 83-84 ( 2008)].

Evidently, the earliest botanical illustration (line diagram) of Nymphaea nouchali appears in Van Rheede’s Hortus Malabaricus: Vol. 11, plate 27, p.53. (1692). This is an illustrated inventory of plants growing in and around Cochin, Kerala State, India prepared by this Dutch Commander stationed in India at that time. Botanical names, such as Nymphaea nouchali, did not exist then and the illustration also had a local Malayalam name ‘Cit-ambel’ (meaning entangled water-lily). However, today it is known by ‘Ambel’ in Kerala.

One of the earliest botanical paintings of the flower (named as Nymphaea stellata and with its English name, Star water lily) appears in Curtis’s Botanical Magazine: plate 2058 (1819). The flower was drawn from a plant cultivated in early 19th Century in UK, possibly in the Chelsea Botanic Garden. A paper titled Wild Flowers of Ceylon by J.E. Senaratna published in Tropical Agriculturist Vol. 110, p.289 (1954) has an accurately coloured painting of ‘Manel’ (named as Nymphaea stellata). A recently published book by J & J de Vlas [Illustrated field guide to the flowers of Sri Lanka, p. 84 ( 2008)] gives the correct name and a colour photograph of Nymphaea nouchali.

The species occurs naturally in Sri Lanka, India and extends to New Guinea. Variation in flower colour and size has been noted by many botanists. J.D. Hooker has even recognized three taxonomic varieties occurring in India based on flower colour and size [Flora of British India, Vol. 1, p.114 (1875)]. Such varieties are also believed to occur in Thailand (see elsewhere). With reference to Sri Lankan ‘Manel’, Henry Trimen (1893) and M.D.Dassanayake (1996) also have noted these variations. This warrants close research on different populations of this species to see whether such varieties do occur in Sri Lanka.

‘Nil manel’ is possibly Nymphaea caerulea, an exotic species that seems to have been introduced (illegally) to Sri Lanka in the late 20th century. Incidentally, the National Botanic Gardens were not instrumental in this introduction. This is known by names such as Blue water lily, Blue lotus, Egyptian lotus and Blue lotus of Egypt and it is native in Egypt extending to Central Africa [Tropica by A.B.Graf, p. 1041 (1978)]. Its species name, caerulea appropriately indicates the colour of its flower [caeruleus means blue, especially the blue of the Mediterranean sky at midday [Botanical Latin by W.T. Stern (1966)]. Nymphaea caerulea had been regarded as the National Floral Emblem of Egypt [Tropical Planting and Gardening by H.F. Macmillan, 6th Edition, p.601 (1991)]. However, Nymphaea lotus (Egyptian white lotus or White lotus) is now considered as the National Flower of Egypt [http://www.angelfire.com/journal2/flowers/pcd11.html].

J. & J.de Vlas [Illustrated field guide to the flowers of Sri Lanka (2008)] has given the scientific name, Nymphaea nouchali variety caerulea, to the Blue water lily (‘Nil manel’) that occurs in Sri Lanka. This name cannot be accepted as no such variety or name exists, and the correct name for this plant is Nymphaea caerulea.

Due to its relatively intense blue-purple, larger and showy flowers, the exotic ‘Nil manel’ apparently has displaced the native and relatively less showy ‘Manel’ in the public mind and in official acceptance / use as evidenced by its appearance in so many official documents.

Fauna Of Ceylon

Most of the Animals indigenous to Ceylon are represented at the Dehiwala Zoo  the National Parks where they mag be seen in their free state “Animals of the Ruhunu National Park by Mr. C.S Norris is a most valuable guide to those interested in the animals of Ceylon. The latest book on this subject is my personal Ark by Aubreg weinman, the first Superintendent of the Dehiwala Zoo.

The elephant (aliya) is the king of the Dehiwala Zoo it belongs to the Sumatra & not the India species.  The female never has tusks the male only rarely. The full-grown Ceylon elephant rarely exceeds ten feet in height & may weigh as much as three tons.  Its life span is roughly that of a human being.

In their wild state elephants live in herds numbering up to twenty. During the heat of the day they retire to the shade of the forests. They live almost exclusively on vegetarian diet the foliage of trees, fruits & grass.  Old bulls are liable to periodical attacks of excitement which is called “must” Their sense of smell & hearing is well developed. Tame elephants are employed for transporting timber & rocks, where there are no roads for vehicular traffic, and in religious processions such as the annual Kandy Perahara.

An attractive animal in the Ceylon jungles is the panther leopard (Kotiya)  often miscalled a cheetah.  The overall length of the male is about 2.13m. It has a golden brown colour on the upper parts with black resells, the under parts being pure white. He lives mainly on smaller animals. The leopard has acute hearing & eyesight but a poor sense of smell.

The Ceylon sloth bear (Valaha) is a large long furred animal with shuffling gait. The colouring is mainly black. The female is generally smaller that the male. It is dangerous much attack with out provocation. It lives on insects, grubs; fruit, flower, roofs & honey occasionally flesh.

The Ceylon jungles have a variety of monkeys. The smallest is a macaque or (rilawa) brown with tuft of hair on his face.  It is gregarious & lives on wild fruits, berries, and young shoots flowers, together with insects, grub & larvae.  The young are carried dinging to their mother’s stomach.  The grey languor (hali-vandura) is larger than the rilawa has a general greenish brown colour with the under parts paler. The purple faced monkey’s or vandura’s are larger that their gregarious cousins of the plains.  The grey ape of the Northern & Eastern provices (Maha Bandura) is the largest of the monkey tribe in Ceylon.

The wild buffalo is more massive & darker in colour than the common village type. All day long wild buffaloes immerse themselves or wallow in the mud. So they suffer greatly during severe droughts. They move into forests glades during the night of their feet, returning to the water holes at dawn. The Ceylon Jackat (Nariya) has a dog like appearance & is reddish brown in colour.  It is the scavenger of the Jungles utters ghostly howls at night.

Two of the most attractive denizens’ of their Ceylon forests are the elk the spotted deer. The elk also called the sambhur (gona) is the largest deer in Ceylon.  It is a noble beast the male stag carrying at antlers which are three-tined about 66 cm high. It lives off the foliage of trees & bushes & sometimes crops of grass around water-holes. The spotted deer (thithmuwa) moved about the kow-country in herds & present a graceful sight. The colouring is rufous-brown on the upper parts, generally spotted with smallish white spots. A darken strip runs from the back of the head down the neck & back to the tail. The sunder parts are white only the stags have antlerswhich mag attain a length of 91.44cm. The spotted deer are generally found in “park-corntg” There is a smaller edition known as the barking deer & an even smaller one, the mouse deer. The wild pig or wild beer (wal-ura) is a pachyderm, dark blackish grey in colour.  It prefers swampy areas around. Tanks & lagoons & lives on roofs & tubers, fallen fruits, grub & carrion vicious if cornered it is very fleet if allowed to run for it.

The mongoose, sometimes known as the Ceylon badger (mugatiya) may be a ruddy or stripe-necked variety. It feeds mainly on small mammals, birds, lizards, insect & egg. It has a reputation for cool courage in its encounter with snakes.

The porcupine (ittava) has a vey distinctive appearance, because of the long black & white quills with which its back is clad. It is noctornab by habit. It feeds mainly on roots bark, fruit and bulbs or yams. When attacked if can inflict wounds by raising its quills.

         The Ceylon black- napped hare (hawa)is light grayish brown, flecked with black it is do be found in most parts of the island in nocturnal in its habits.

The iguana (talagoya) a species of lizard attains a length of 1.5m or more and is dark blackish grey. It can be distingushied from the water lizard (kabaragoya) a still larger species which is darker black covered with yellow marking. The talagoya constitute the main diet of the veddahs, mixed descendants of the aborigines.  They feed mainly on small vertebrates, insects & grubs, being especially fond of termites.

The kabaragoya is a protected animal as itissaid to kill snakes & also the small craps which bore holes in the “Nigaras” or partitions of paddy fields.  It is amphibious & fearless of man, capable of in flicting a severe wound by a blow from it tail.

The crocodile (Kimbula) can be 6.00m or more in length. There are two varieties: the larger, frequenting the estuaries & rivers, the smaller living in tanks & fresh water lagoons. The estuarine crocodile is a man-eaten & it is unwise to bathe in rivers near the coastal belt. Both species lag eggs for propagating their young. Eye-sight & hearing are well-developed & the powers of scent are good.

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Traditional Handicrafts Of Sri Lanka

The handicrafts of Sri Lanka, bewildering in their range & variety, today, are in fact the products of a continuous process of development of human skills & resources stretching far back in to the past. These were & still survive as traditional crafts serving as the backbone of the rural economy during the early & mediaeval periods of the island's history. There importance never diminished from the earliest times when man started to use the raw materials he came across in daily life for satisfying basic needs.

While adapting the available material for domestic use, in the early stages, he did not lose sight of its appeal to himself & his social group in terms of design, color combination, format & appearance. These concepts were slow in evolving, but the earliest crafts products of ours as of any other old culture show a delectable blending of the twin function of utility & aesthetic sensitivity. Crafts therefore, were considered to important & craft training so indispensable to even an artist that the arts & crafts grew in mutual relationship. There was hardly any distinction between the arts & crafts in the early phases of creative work in Sri Lanka.

Our early art shows that all the great works of architecture, sculpture & even painting possessed a high degree of skilled craftsmanship. Likewise the best products of the craftsmen's arts, in whatever material they were made, mainly for the royal & high-ranking patrons, bore the hallmark of artistic excellence in addition to superb craftsmanship. Their parallel existence & mutual influence enriched the arts & the crafts in their revolting rendering them inseparable with a common heritage of design, motifs & forms.   

The craftsman, even more than a artist, attained a very high status in the mediaeval period of history which saw the efflorescence of traditional crafts in the kandyn kingdom. Under a feudal system of society regulated by a hierarchical caste structure, service to the king & the royal circle became the prime duty of the best craftsmen, who were thus able to earn the little of "master craftsmen" by virtue of their skill professionalism. Even the crafts had their own gradation, the richer & more valuable the material, the higher the status of using craftsman. Therefore jewellery work with gold & gems was a crafts on the highest pedestal, ivory carving coming next in importance, both forms of craftsmanship equally recognized for the grant of sumptuous awards from royalty. 

 It must also be mentioned here that the inspiration to produce the best crafted objects had a strong link with faith & religious devotion. Votive figures as well as statues of the lord Buddha & the deities of popular religion, produced in various materials, show the motivation of religion as the dominant factor shaping their skills in casting & carving of metals. It is also observed that the several categories of crafts owe their origin to the ceremonial & ritualistic practices of the temples & the attendant festivities including processions & exhibitions of village merchandise.

The classical tradition of arts which produced masterpieces like the frescoes of Sigiriya, the architectural monuments of Anuradhapura & Polonnaruwa & the massive Buddhist sculptures of those times was later replaced by the folk tradition in which not so much the creative artist but the skilled craftsman played a leading role Turing out utilitarian products satisfying society's needs & providing artistic appeal at the same time. In this period, painting was not practiced as a fine art but as a folk art with its own technique, symbolism & color scheme, for edifying & educative purposes.

Figure sculpture also assumed a popular character with stucco or clay being substituted for stone. The minor arts such as metal work of various kinds, bone-horn-shell-work, lace-work, weaving, textile-making, basket-work & a wide range of ancillary arts & crafts provided the people with their domestic. Requirements & the craftsmen, engaged in them, with suitable employment. The folk arts which constitute the sum-total of the traditional art forms, emerging with the materials & services available, received as much acceptance as the “cultured" arts in feudal society. To these were added the products contributed by the collage industries which sustained village life at a satisfactory economic level. These arts were also cherished by the people as they reflected their legendary lore & popular beliefs which were transmuted into motifs & designs of lasting beauty & appeal. The history of folk arts also strongly emphasizes how a particular form or type grew & decayed according to the likes & dislikes of the peoples. Their dynamism also prevented their complete disintegration for they were able to emerge in a new form incorporating new elements if the old form was no longer acceptable. These arts forms also possessed the characteristic quality of using gay & striking colors, a prominent feature in kandyn art ( with red,yellow,black & white) but above all the folk artist executed the delicate work with a high sense of dedication.

From Anuradhapura periods onwards handicrafts of the country have shown certain characteristic features associated with a developed standard of craftsmanship. Anuradhapura was noted for pottery, metal ware, jewellery & ivory products. Recent archaeological finds form the cultural triangle excavation in the area have thrown further light on this aspect & confirmed the use of quality ceramic ware & jewellery during the period. The Polonnaruwa epoch, following Anuradhapura, is remembered especially for its terra-cotta products & bronzes showing visible traces of S.Indian cultural influences. Before the advent of western foreign invaders to the land, in the 16th c A.D, the crafts had reached their efflorescence after centuries of dedicated effort on the part of traditional craftsmen. In the mediaeval era, extending from the 16th century to the 18th century, the truly authentic craft traditions of the country were systematically organized by an efficient system of workshop training & apprenticeship, comprehensive in scope & method. It was indeed a period of high specialization in the respective crafts dealing with prize metals where the excellence of skills & expertise were adequately recognized.  

 Service to the king & the official of high rank by the best craftsmen of the land produced high standards of production in craftsmanship. But satisfactions of domestic needs in the royal household as well as the requiremants of ordinary folk were not neglected. A wide range of objects used by many segments of society, in the past, show the same attention to detail & sense of matching material to form, evident in whatever the products, be it carved in laid or lacquered. The household goods & items of personal use testify to the wide practice of crafts by a large range of craftsmen, who cared & catered to the needs of the community as a whole. Kitchen utensils, simple tools & implements & even the humble products made from ruch, reed,clag & cane, reflect the sense of discipline & feeling of social obligation that seem to have characterized the making of ordinary ware.

The growth of handicrafts, therefore, can be considered in three phases of socio-religious development entailing religious motivation (in the earliest phase) royal patronage & everyday use. The evolution of the arts & crafts of Sri Lanka, which must be considered jointly in any overview of the handicrafts, shows two patent influences at work. The early phase is marked by characteristic features drawing upon Indians norms & standards, especially in the arts of architecture & sculpture. Ananda Coomaraswami , on the earliest critics studying the problems connected with the origins of Sinhalese art, has acknowledge Sri Lanka’s debt to Indian art, calling Sinhalese art as essentially Indian.

He also states further that in the mediaeval period, the traditions of Sinhalese art, as represented by the indigenous craftsmen of the island, descended from the Aryan immigrants to Sri Lanka, led by Vijaya, were integrated with the traditions later introduced by artisans of south Indian origin, the kammalar( skt karmara). It is also his opinion that both the north Indian & later south Indian immigrant craftsmen as well as the indigenous craftsmen of Sri Lanka belong to an original stock constituting a guild of artificers, who migrated in to various parts of India &S.E Asia , carrying a common message of craftsmanship which they sought to propagate in the countries where they eventually settled down. Sri Lanka’s renowned archaeologist, “Senarath Paranawithna”, also , lays emphasis on the indigenous Sinhalese art of early times in relation to the great cultural & artistic traditions if India & especially the influences stemming from the spread of Buddhism & its humanistic philosophy. He states further that “the ancient arts of Ceylon like that of java or indo-china, possesses a distinctive character of it’s own” the use of Hindu & Buddhist models was, therefore, an important factor in the growth of the arts in the island. Not only the arts, but the arts of the country too, show in their phases of development the specific foreign influences that seem to have determined their character & composition. In the earliest stages the growth of the architectural & plastic arts of Sri Lanka distinctly reflects the conceptions introduced by Indian artists & craftsmen who were employed by the Sinhalese rulers. But these ideas were suitably adapted by the local artists in such a way that an indigenous artistic tradition developed under the benign influence f the Buddhist faith which most of them embraced & therefore, attempted to propagate through their artistic work. The sculpture of the early period & the Buddha images in particular, attest to the overwhelming influences of Andhra art on that of early Ceylon. Yet, the early sculpture of the island exhibit, conspicuously, according to another critic, the Theravada Buddhist ideology as practiced by the Sinhalese artists of Anuradhapura &Polonnaruwa. The two great centers of classical Buddhist culture.

When north Indian influence waned & the repeated invasions of the country by south India rulers commenced in the later times, Aryan Buddhist styles gradually came into contact with Dravidian style of art & decoration & were integrated in to the existing forms. Architectural monuments, found in Polonnaruwa, in the 12^th & 13^th centuries & the bronze figures of the same period furnish evidence of the dominance of Dravidian arts as exemplified in the ornamental motifs & techniques introduced in to Sinhalese stone-work & carving. But happily, here too, the chastening influence of Theravadha  Buddhism prevented a complete breaking away from artistic traditions of the former period. Sinhalese arts was undergoing a change, but its resilience & ability to adapt it self to the new conditions were : its greatest assets. This period also marks the end of the classical tradition &  was the precursor of the mediaeval art of the Sinhalese, which began to concentrate on decoration & even over ornamentation to the detriment of originality of conception & designs.