The influence of the western painting traditions on southern coastal drawings of Sri Lanka

dc.contributor.authorSameera, M.A.G.J.
dc.date.accessioned2016-10-19T06:41:42Z
dc.date.available2016-10-19T06:41:42Z
dc.date.issued2016
dc.description.abstractThe objective of this research is to pay special attention to the distinctive characteristics of the influence on paintings of the Southern coastal belt of Sri Lanka. Most of the Buddhist viharas and temples destroyed by Portuguese and Dutch in the southern coastal belt were reconstructed by King Keerthi Sri Rajasinghe with the patronage of the chief Buddhist priest Rev. Welivita Sri Saranankara Thero, during the late 19 th century. Due to this renovation process, the Kandyan art tradition expanded towards the Buddhist viharas and temples of the Southern coastal belt of Sri Lanka. Although the art tradition of the paintings of the upcountry, Sabaragamuwa and the NorthWestern provinces was preserved by the paintings of the Southern coastal belt, the paintings evolved in the low country developed slightly different characteristics. The main theme of upcountry and southern painting tradition was the illustration of the incidents related to Jathaka stories. A common feature of the southern painting tradition was the application of a brilliant colour scheme in their paintings. Another special feature observed in their paintings was the enrichment of the spaces and the background with environmental objects. Special characteristics that were observed in the Buddhist paintings of the Southern coastal belt was that they had a keen influence of the painting tradition of the western world. It was noticed that during this period, the western religious, social and cultural influence had an impact on the painting tradition of viharas and temples of Sri Lanka. These characteristics could be observed in the paintings of the temples namely Mulkirigala, Shailabimbaramaya of Dodandoowa, Poorwaramaya of Kathaluwa, Thelwatta Rajamaha viharaya of Totagamuwa, Samudragiri viharaya of Mirissa, Sunandaramaya of Ambalangoda, Kande viharaya of Aluthgama, Rajamaha viharaya of Kumarakanda and Rajamaha viharas of Kotte and Kelaniya. It could be concluded from the research that although the Southern tradition of paintings was as the evolution of the Kandyan painting tradition, the paintings of Buddhist viharas in the southern coastal belt depict mostly the western tradition of drawings. Books and articles related to literature on the tradition of art and paintings of Sri Lanka were associated along with the sources of the field study for this research.en_US
dc.identifier.citationSameera, M.A.G.J. 2016. The influence of the western painting traditions on southern coastal drawings of Sri Lanka. 2nd International Conference on the Humanities (ICH 2016), 06th - 07th October, Faculty of Humanities, University of Kelaniya, Sri Lanka.en_US
dc.identifier.urihttp://repository.kln.ac.lk/handle/123456789/14598
dc.language.isoenen_US
dc.publisherFaculty of Humanities, University of Kelaniya, Sri Lankaen_US
dc.subjectWestern painting traditionen_US
dc.subjectRenovation processen_US
dc.subjectSouthern painting traditionen_US
dc.subjectBuddhist paintingsen_US
dc.subjectKandyan painting traditionen_US
dc.titleThe influence of the western painting traditions on southern coastal drawings of Sri Lankaen_US
dc.typeArticleen_US

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