Stupas of Sri Lanka

The architecture of ancient Sri Lanka displays a rich variety of forms and styles. Even in their ruined condition,

 the buildings of ancient Sri Lanka denote(indicate) a cultural heritage and architectural significance which is important to the modern Sri Lankan culture.

Buddhism had a major influence on architecture, as on many other aspects of Sri Lankan life.

The dagobas or stupas are important for many reasons. They are probably the largest brick structures known to the pre-modern world. Demala Maha Seya, which was never completed, had a circumference of 2,011 feet. Jetavanaramaya is the largest stupa constructed in any part of the world.

It is over 120 metres in height and has a diameter of 367 feet. The foundation is 28 feet deep.

It needed bricks that could bear the load of 368 pounds. Jetavana was the third tallest building in the ancient world. Abhayagiri, which is 370 feet tall, ranked fifth and Ruvanvelisaya, being 300 feet in height, came seventh. You may be wondering what structures took the first, fourth and sixth places. These places were secured by the Pyramids of Giza, Egypt.

The structure

The construction of a dagoba was considered an act of great merit. Dagobas were built to enshrine relics. They were constructed according to strict specifications.

Entrances to stupas were laid out so that their centre lines pointed to the relic chambers. Initially, there was only one relic chamber, but a number of additional relic chambers were added when the stupas were rebuilt.

The dagobas are admired today for their perfection and stability. Engineers who examined Jetavanarama in the 1980s said that its shape was ideal for the materials used in construction.

Stupas such as Jetavanarama, Abhayagiri, Ruvanveli and Mirisavati were initially in the shape of a paddy heap, known as 'Dhanyakara'. Other shapes such as the bubble, which is known as 'Bubbulakara', pot shape, which is known as 'Ghatakara', and bell shape, which is known as 'Ghantakara' developed later. It is suggested that the stupa at Nadigamvila Digamvila was in the shape of an onion.

An ornamented vahalkada was added to the stupa around the second century. The four vahalkadas face the cardinal points. They are ornamented with figures of animals, flowers, swans and dwarfs. The pillars on either side of the vahalkada depict figures of lions, elephants, horses or bulls, depending on the direction of the structure.

Construction

The bricks were bonded together using a clay mixture, called butter clay or 'navanita mattika'. This was composed of finely crushed dolomite limestone mixed with sieved sand and clay.

The stupa was thereafter covered with a coating of lime plaster. This was sometimes ten inches thick. There was a range of plaster, using different combinations of materials.

The items used included some common materials like lime, clay, sand, pebbles and crushed seashells.

They even used some unusual materials such as sugar syrup, white of eggs, coconut water, plant resin, drying

 oil, glues and even the saliva of white ants. Some of these items are mentioned in the Mahavamsa.

Small pebbles were used to make the fine plaster at Kiri Vehera. Crushed seashells mixed with lime and sand were used in the stupas of the fifth to twelfth centuries.

Expensive plasters were used sparingly, for specific purposes such as water proofing. Did you know that although stupas in other countries have been struck by lightning, this hasn't happened in Sri Lanka? The Mahavamsa speaks of lightning protection for the stupa.

The conical metal cap and its 'vajra' at the top of the dagoba were supposed to have earthing properties. The Mahavamsa also refers to laying a sheet of copper over the foundation and applying arsenic dissolved in sesame oil on this sheet. This is believed to have kept out white ants and helped prevent plant life growing inside the stupa.

Sri Lankans as well as the entire world admire the great work of our ancestors. We must take every step to protect this rich heritage and the engineering expertise that has led to these wonderful creations that symbolise the capabilities of our ancestors.

Compiled by Janani Amarasekara