|
|
 |
 |
| Sunday, 22 September 2002 |
 |
|
 |
Features |  |
| News Business Features Editorial
|
The Portuguese conection Singhala-Portuguese Art of the 16th and 17th centuries Little is known today of Portugal's contribution to the arts and crafts of Sri Lanka. What we often consider to be indigenous works may in fact have a foreign origin and this is clearly demonstrated by Murray Da Silva Cosme in his latest publication, Singhala-Portuguese Art of the 16th and 17th centuries. Cosme shows quite convincingly that it was largely if not solely the Portuguese who were responsible for introducing modern household furniture to the country. He has sought to show that during the time of the Sinhalese Kings furniture among ordinary folk was confined to the pettagama, a chest for storing valuable family heirlooms and some chairs and stools among the more well-to-do sections. He also disproves the commonly held notion that it was the Dutch who introduced furniture to the island. In support, he cites Louis Nell, a contributor to the Orientalist of 1888, according to whom servants in Galle over a hundred years ago used the Sinhala word arumosan derived from Portuguese armacao to denote the arrangement of furniture in a house. This and other Portuguese loans in Sinhala such as mesa for table clearly show that it was Lusitanian influence that was primarily responsible for the adoption of modern furniture in Sinhalese households. Cosme avers that the Dutch presently get the credit for introducing furniture as we know it today due to the fact that they encouraged carpentry in areas like Galle and Moratuwa, an activity which we might suppose led to the mass scale production of furniture thus making it readily available in the market at a fairly reasonable price. Since heavy furniture could not be exported from Portugal to its colonies in large numbers, it appears that master craftsmen and even models to be copied were despatched to the east, so that with time, a distinctive Indo-Portuguese tradition of furniture making emerged. So much so that the Portuguese Governor Albuquerque paid a fitting tribute to the Indian artificers when he informed his sovereign in Portugal that the Goan carpenters were better than their Portuguese counterparts. Goa it would appear served as the model for other Portuguese settlements including Sri Lanka. Cosme however notes that though Sinhala-Portuguese furniture belonged to the Goan tradition, it was distinctive in its own way since Sinhalese craftsmen had a long tradition of expertise in ivory, filigree and woodwork. Therefore, it can boldly hold its own and be called Singhala-Portuguese art, he concludes. Sinhala-Portuguese art combined the models or designs existing in Portugal with the workmanship of Sinhalese artisans including indigenous devices like decorative motifs. Cosme follows his account of the early beginnings of furniture in Sri Lanka with a lengthy description of Portuguese inspired household furniture including the early chairs with arms terminating with the faces of animals and a carved board at the back giving comfort to the sitter, the cama de bilros or beds of bobbins which consisted of a carved head board with sprouting bobbins, the sofas or settees made of rare tamarind wood and upholstered in royal red velvet, the mesas or tables with legs adorned with the caryatid features of birds and mermaids, the highly ornamented armario or almirahs with inlaid work in ivory, the three-legged bancos or stools with decorative carvings and upholstery of damask, silk or velvet and the cafres or caskets which served both a functional as well as an ornamental purpose. Indeed, it is on record that chests and other works of Sinhala-Portuguese vintage were even popular with European royalty. For instance, Queen Dona Catherine of Austria, the Queen of Portugal had in her inventory of 1545 two caskets of ivory from Sri Lanka entered, one of them being a gift from Dom Luis, the Infanta of Portugal. Cosme then proceeds to trace the Portuguese influence on local jewellery. Such influence seems to have been quite significant as suggested by the Portuguese loans in Sinhala pertaining to jewellery. This includes the barsal 'bracelet' (Port.bracal), karabu ear ornament' (Port.cravo) and kaskinna 'the gold shell round the glass bead or coral necklace' (Port.casquinna). Similarly, the silver and gold buttons on the traditional jackets is attributable to Portuguese influence. As for Portuguese influence on Sinhalese architecture, Cosme cites the case of the portuguese janela or window which replaced the earlier Sinhalese kavuluvas which were small and circular in shape. The Portuguese windows on the other hand were large and rectangular and very much resembled our modern-day windows. Portuguese influence could also be seen in the arch, cornice and column whose Sinhala equivalents arkuva, listraya and kulunna derive from the Portuguese arco, listra and columna respectively. Cosme does not forget to include in his work an account of bobbin lacing whose Sinhala equivalent biralu derives from the Portuguese bilro. He notes that when the Portuguese arrived in the island, lace-making was on the upswing in Europe. He avers that lace-making was first taught to the slaves and servants of Portuguese households whence it spread to other areas, only to become entrenched in areas like Galle and Matara in the south where it still survives as a cottage industry. The book is also illustrated with 48 sketches and photographs of works of Sinhala-Portuguese art preserved in the Munich Treasury in Germany, the Kunsthistorisches Museum in Vienna and the Colombo Museum. On the whole, a well researched book that should go a long way in creating an awareness of the immense contribution made by the Portuguese to the development of local arts and crafts. Reviewed by Asiff Hussein New approach to language learning and teaching "A Certificate Course in English" By Dr. Siromi Fernando Dr. Siromi Fernando's "A Certificate Course in English", first published in 1985, has been reprinted after several editions. When I bought a copy I was rather surprised at the low price of the book. Then I turned the pages to find this unusual note by the publishers: "This book is published as a service and at cost so that it may be within the reach of as many students as possible." If all the other publishers can follow suit, students will buy their books without undue delay. Today students flock to mushroom tutories to learn "Spoken English" and finally end up by learning more Sinhala or Tamil than English. Meanwhile, a few respectable institutes such the British Council and London Business School are making a genuine attempt to impart a good knowledge of English based on grammar and idiomatic expressions. Dr. Fernando's book can be used by students who are really interested in improving their knowledge while following a course. The author, a student of legendary Prof. Doric de Souza, has long years of experience teaching English to Swabhasha medium undergraduates since 1960. She is credited with introducing various methods to induce competence in English among university students. The book is meant for those who are already familiar with the basic grammar of English. Anybody who uses the book meaningfully would gain a sustained competence in the language, a more comprehensive awareness of its structures extending to higher levels of communication such as style and politeness, wider practice in comprehension and a systematic development of composition skills. Although the target readership had been undergraduates of the University of Colombo, the book is suitable for other universities, Technical Colleges, private institutes and individuals who want to have a better understanding of the language. Dr. Fernando has departed from the traditional grammar-based texts by adopting a semantic approach. For instance, under Future Events Future constructions with "will" have been introduced. However, such departures from the traditional approach have not abandoned the tried and tested teaching methods. Old hands like me may not need such new tricks to teach the language but the teachers of the new generation will require novel techniques. I feel that the author's attempt to write a course that is psychologically motivating and stimulating has been successful. However, teachers would welcome a handbook to be used along with this work as a companion volume. Reviewed by R.S. Karunaratne Visiting Lecturer in English at London Business School Introduction to Vedic innovations of Kandyan ritual drums Bera Handa Research works of Vasantha Kumara Identifying oneself with rituals and its conditions activities promulgate with referred objectives as traditions speaks of 'values' of age-old cultural contributions to society. As we escape to acquired 'politeness' we miss some of the collected reminiscences of our indigenous life and its participating objectives of valued social ingredients. "From cult towards a naked burial" as Vasantha Kumara refers to his earlier research works, was an eye - opener with the released newest arrival. Bera Handa, an explanation to the readers the 'necessity of knowing 'what is subjective to one's own'. The subject of 'drums' comes not only as recollections of 'Cultural values' but as necessitated requirements of relegated fields of study which not only concerns student artists, but the observer in the relationship with his own surroundings. 'Bera Handa' refers to the climatic ownings of ritual arts in the vicinity of its activated fields of characteristics. The Vedic resemblances of the co-related activities connected with the ritual performances are purely religious in form; the related field of performance maintains the characteristics required through the 'Language of Drums' - (Pada Matra) - innovations are the 'designed prospects of the particular 'rhythmic poses' - the divinity of the character formed are the results of this combined unity of the 'Drum and the Dance' concern. Whether it is a Matra (a particular rhythmic character) or a designed frequency such as a Addaw or Kastiram brought within the performing characteristics of the performer should in the way of its cultured innovative study, maintain the meaning required. Wattam (associated mouldings of the performer) as the writer explains are the reformed actions brought in from the basic study of - Haramba. The intricacy of the Tals (suffix) (reliability in rhythmic counts) along with the associated movements are the designing of forms with the meaningful suggestions of the Hastas (hand gestures). Here the writer with his deep knowledge of tradition, has brought within the study the qualitative responsibility of the performer in his arrangements of dance as the syllabus of the Wattams records, the necessity of movement according to his requirements. We seldom accustom ourselves with the ritual fractions of study involved with the sanctity of the 'act inscribed as a performance '... the fashion of 'listening to Pirith' is a mental therapy, is more the concern but the required object of study is much away. Vasantha Kumara's comprehensive search for the valued objectives comes to us as a incentive.... Sajjayana though not in the associated musical suggestives, the region of its harmony based on certain suggests religious percepts. The 'drum' the suggestive exposition of the Hymn as the base of its activity combines to the resonance of suggestive notes that conveys the participation as required. As Vasantha Kumara points out these logical combinations of Sajjayana, Hevisi and Magulbera are the earliest that we could record as informed classical traditions of ritual arts. Sesiri Wijesekera Books on Astrology and novels by LAKMAL WELABADA Combining his forty years of experience in astrology Mr. Piyasena Rathuwithana, a veteran astrologer cum author will be launching five books on astrology and two novels for teenagers at the J.R. Jayewardene Centre, Colombo on October 1 (Tuesday) at 3.20 pm. The 'Dina Indra' astrological foundation will present the 'Jyothishya Vidyapathy' an honorary award to Rathuwithana at this event, in appreciation of the long service rendered by him in the field of astrology in Sri Lanka. The symbolic award will be presented by Minister of Buddhasasana, Justice, Law Reforms, National Integration and the Leader of the House W.J.M. Lokubandara, the chief guest at the ceremony. Veteran media personnel Dharmasiri Gamage, renowned astrologer Hemasiri Kumaranatunga and Kalashoori Arisen Ahubudu have been invited as guest speakers. The five books on astrology include - 'Yoga 550' (a description of five hundred and fifty combinations of the nine planets in astrology); Jyothishya Siddhantha (the basics of astrology); Ayubala Vinishya Saha Jyothir Roga Nirnaya (life span and illnesses shown in one's horoscope); Jyothishya Igenuma (learning astrology as a subject); and Obai Kendarayai Vivahayai (marriage shown in horoscope). The two books written for teenagers - Kandulu Gange Pipunu Malak and Rajjuruwange Iskoleare a two part sequel that relate the fascinating story of a child who succeeds in his studies by facing many difficulties with courage. Rathuwithana, a multi-talented person was a teacher, a principal and a freelance journalist at Lankadeepa and Lake House newspapers. He worked as the Co-ordinating Editor in Peramaga magazine during the period of the late President R. Premadasa. He has also held many administrative posts and was the Working Director at Rupavahini and the Water Board; Public Relation Officer at the Building Material Corporation and a Consultant at the Information Ministry in the early'90s. |
|
News | Business | Features
| Editorial | Security Produced by Lake House |
