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| Sunday, 11 May 2003 |
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| News Business Features Editorial
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Ran veta - work of traditional craftsmen by KAREL ROBERTS RATNAWEERA At this time when Vesak is almost here, one's thoughts turn to many things - the uniqueness of the event, memories poignant and pleasant of Vesaks past, places connected with Vesak, Vesak in city and suburbia and a hundred other things.
Just as Poson in June turns thoughts to Mihintale and the perennially enchanting story of how Buddhism took root in the island, at Vesak it is appropriate to think of Anuradhapura, the site of the world's oldest tree as it is recorded - the Jayasri Maha Bodhi or Bo tree, as it is colloquially referred to, where thousands of pilgrims will flock this Vesak season. It is particularly relevant to think of this scene this Vesak because a new ran veta (protective golden fence), is being installed in what will be an historic event this Vesak season. The first such fence was set round the Bo tree in 1965, but the latest thinking is that another second, protection for the tree to ensure its security, is desirable. The foundation stone for the new ran veta - these words sound so much softer then the English fence - was laid on May 23, 2001. The old iron railing on the uda maluwa or upper terrace - will be replaced by the new one at a cost of several million rupees. The importation of brass has cost almost four million rupees, according to news reports appearing in the newspapers these past few months, while the 20 killogrammes of gold granules for gilding the veta cost 30 million rupees.
Making the ran veta is the sole privilege of the community of people who work in precious metals, and whose ancestors, in the times of our ancient Sinhala kings, worked exclusively for the monarch, turning out the most exquisite jewellery, ornaments and artefacts for which they, the craftsmen and artisans were richly rewarded by the king. The gifts of lands received by those ancient workers in precious metals stand to this day and are found in the families of descendant gold and silver smiths living and practising their ancient trade just as they used to do in early times in small pockets of residence particularly in and around Pilimatalawa and other villages in Kandy and in Southern areas as well. The English historian, H. W. Codrington who was resident in the Ceylon of his countrymen, presented a special paper on The Kandyan Navandanno at a meeting of the Royal Asiatic Society in the twenties. Addressing a distinguished audience, he said that in those days the gold and silversmiths formed close cooperations known as Pattal Hatare or the four workshops. Originally the pattale was the Abharana pattale.
In his paper Codrington dwells for quite some time on the Setting of the eyes of the Buddha statue - the Netra Mangalaya - which is also performed with great ritual by this same community of artists. On completion of the ceremony, the monarch would present the Royal dress to the smiths. The famous Devendra Mulachari, the designer and builder of the fully timbered Audience Hall in the precincts of the Dalada Maligawa, was a descendant of those same smiths and artists who worked for the kings. He also designed and built the Octagon (pattirippuwa) of the Maligawa. One of the Mulachari's ancestors, Vodhi Pattalama Mulachari is said to have come with the Bo sapling which was brought by Emperor Asoka's daughter, the Theri Sangamitta. Codrington says that this particular community is a hereditary clan holding the first rank. Under the Kandyan kings, the community was divided into such as 1) Achari, also styled Gurunnehela, that is, all blacksmiths; 2) Badulla (gold and silversmiths); 3) galganno (stone polishers); galwaduwo (stone cutters), Hittaru Sittara (painters etc.) and so on. |
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