Mask heritage

Talk of masks, talk of Ambalangoda. An 84 kilometre drive from Colombo, the mask heritage of Ambalangoda is internationally famous. Ambalangoda can even be considered the cradle of the Sri Lankan mask, even though the mask-making industry has a long tradition in the southern and south western maritime regions of Sri Lanka.

Sri Lankan masks can be a fascinating study, because most of these masks have distinct features and characteristics representing a story peculiar to it. They are very much a part of a living social fabric, mythology and a philosophy of the southern people of Sri Lanka.

Exotic creations of expert craftsmanship, these fascinating masks are used essentially for theatrical or ritual masquerades. The effect is usually visual and amplifies the dramatic situations or the rituals performed.

Sri Lankan masks could be divided into two categories - Kolam masks and Thovil/Sanni Masks. Kolam is a rural dance drama; a form of traditional entertainment associated with the south of the country. The Kolam masks aid in the clever caricature of characters and incidents from southern Sinhalese village life, including the infiltration of foreigners with the advent of the colonial era.

The actors, headed by a narrator, depict various episodes through masked dance, mime and impromptu dialogue. Here almost every character wears a mask. Each Kolam dance has its own characters such as Panikkala; the drunken drum messenger; Nonchi akka; his wife of the Anabera Kolama; and Lenchina; the young and pretty wife of Jasaya, who is the old washerman in the Pedi Kolama.

Naga Kanya

Maname

Suramba walliya

Thovil and Sanni (disease) are demon dance ceremonies performed to exorcise disease-causing demons. The Kattadiyas (witch doctors) impersonate these demons, wearing masks and costumes peculiar to each demon. Some of the masks used in these rituals, such as the 18 Sanni demons, have their own distinct features, symbolising a particular Sanni; and masks of the five Yakku (demons), such as the Kalu Yaka and Mahasona Yaka.

The Ambalangoda mask museum is the only museum dedicated to the exhibition of traditional masks. The museum was set up by Ariyapala Gurunnanse of the Wijesooriya family with Germany's aid in 1987. The Wijesooriya family can trace back its traditional craftsmanship to 1798 from whence the family has been the guardians of a distinct school of craftsmanship.

The museum is well maintained and contains a treasure trove of ancient and rare masks of a variety of characters, sizes, shapes and colours. Accompanying the exhibits are informative details. The museum is part of a complex, including a work shop, dancing school (kala ayathanaya), library and sales outlet.

I was informed that the masks of King Maha Sammatha found in this collection is about 250 years old, and is considered to be the oldest mask in Sri Lanka. This gigantic mask is carved out of a Kaduru (nux-vomica) log, which weighs 10 kilos and is exhibited alongside his Queen Menikpala.

It is to this same royal couple the origin of the Kolam dance is attributed. The story goes that when the queen was pregnant, she felt a strong desire to see masked dances. Yet, no one knew how to perform them and the queen suffered with her desire unfulfilled.

To put an end to this suffering God Sakra asked God Vishvakarma (the celestial artisan and God to craftsmen) to provide the masks and the lyrics for such a dance. The next morning the masks and verses were found in the royal garden. The king ordered to have the verses studied and then a mask dance was performed. The queen was highly pleased and her pregnancy cravings disappeared.

Crafting a mask was originally reserved for those belonging to families of artisans coming down the generations. It was an undertaking, which involved a lengthy procedure.

In carving the mask, the wood of the kaduru tree is used almost always. This wood is light, easy to carve and durable.

In the preliminary stages the bark of the tree was peeled and the trunk chopped into sizable blocks. Gradually the chosen part was trimmed and reduced to a specific size and hollowed from the inside.

Thereafter the potential mask was kept close to the kitchen fireplace for about a week to absorb smoke and fume. The wood, originally white in colour, turns a golden hue. The final product is reached after several such seasonings at different stages of its carving.

It is said that if a mask is kept at the kitchen fireplace for three months, it will last nearly 75 years, and if kept for six moths, it will last nearly 150 years.

This process is essential, because the type of wood used contains a large quantity of latex and the wood needs to be completely dry, as otherwise it would tend to crack during the hollowing and scraping.

Then the dried face of the mask is smoothed first and it is further smoothened with tree leaves of Motadeliya and Delsavaran, and yellow is applied as a basic colour. After this the detailed painting is begun. Next, goggling eyes, lapping tongues, sagging cheeks, pointed chin, wrinkles on the forehead, protruding teeth, beards, horns and fangs of demons are patiently and carefully worked out.

Traditional artistes possess handwritten manuscripts containing prescriptive verses (ambum kavi), detailing the proportions, characteristics and colour combinations of the conventional masks. However, this does not inhibit artistic creation.

In the past, masks were painted with natural paints extracted from leaves and flowers of trees, stones and minerals. Brushes for painting were made from the fibre of roots and the hairs of animals.

Painting a mask in this pure local tradition involved much labour and time. Such masks, made according to conventional methods, are highly valued and are still used in traditional performances and rituals.

Masks manufactured today are essentially for the tourist market. These masks will not fail to mesmerise you with their fine carvings, arresting colour combinations, haunting features and hypnotic effects. A mask, no doubt, is a true treasure for your Sri Lankan collection.

ESL