2016 Art Part I

Medawela Tampita Viharaya: The photograph shows the Medawela Tampita Viharaya, a classic example of a Kandyan period temple built on pillars. It is located near Kandy and is renowned for its well-preserved architecture and murals from the Kandyan era.
Image Location: A similar image and description can be found in the Grade 10 Art Teacher Guide, Page 83.

Tampita Viharaya: The image clearly shows a wooden structure built upon a high platform of stone pillars. This architectural style is known as a ‘Tampita Viharaya’ (temple on pillars). This method was used during the Gampola and Kandyan periods to protect the main image house, which was constructed of wood and clay, from termites and ground moisture. Medawela is a textbook example of this architectural type.
Image Location: The structure is identified and described in the Grade 10 Art Teacher Guide, Page 83.

Kandyan Period Paintings: The Medawela Tampita Viharaya and its murals are prime examples of the art and architecture of the Kandyan Kingdom. The painting style is distinctly Kandyan, characterized by its two-dimensional figures, use of red as a dominant background color, narration of stories in horizontal bands (tīru chitra), and a limited palette of natural pigments (red, yellow, black, white, and green).
Reference: Information on Kandyan period murals is available in the Grade 10 Art Teacher Guide, Pages 83-85.

Common Themes in Kandyan Murals: The primary purpose of temple paintings during the Kandyan period was to educate the illiterate masses on Buddhist doctrine and stories. The most important and frequently depicted themes were:
1. Life of the Buddha: Including key events like the ‘Sath Sathiya’.
2. Jataka Stories: Tales of the Buddha’s previous lives, which illustrate moral virtues. The Medawela temple is particularly noted for its murals depicting the Vessantara Jataka.
3. Sūvisi Vivarana: The stories of the 24 previous Buddhas.
Reference: Themes of Kandyan art are discussed in the Grade 10 Art Teacher Guide, Pages 83-85.

Tempera on Dry Plaster (Fresco Secco): Kandyan period murals, including those at Medawela, were created using the tempera technique on dry plaster, also known as ‘fresco secco’. The process involved applying a layer of plaster to the wall and allowing it to dry completely. The artist then painted on this dry surface using pigments mixed with a binding agent like plant-based gum. This method allowed for meticulous detail but was less durable than true fresco (fresco buono), where paint is applied to wet plaster.
Reference: This technique is described in the Grade 10 Art Teacher Guide, Page 83.

Vahalkada (Frontispiece): A Vahalkada is a structure erected facing the four cardinal directions of a stupa. It functions as an ornamental gateway and a place for offering flowers. Originating in the Anuradhapura period, these structures evolved from simple wooden fences to elaborate stone constructions. They are richly adorned with carvings of animals, floral motifs, and divine figures, making them significant artistic features of ancient Sri Lankan stupas.

Tivanka Image House: The Tivanka Pilimage (Image House of the Thrice-Bent Buddha) in Polonnaruwa is the most significant site for studying the painting tradition of that era. Its inner walls were completely covered with murals depicting Jataka stories (such as the Vessantara and Sasa Jatakas) and scenes from the life of the Buddha. Although many are now faded, they provide invaluable insight into the artistic style of the Polonnaruwa period, which shows a continuation of the classical tradition of Sigiriya and Anuradhapura but with its own unique characteristics.
Reference: The Grade 11 Art Teacher Guide, Page 104 contains details and an image of the paintings from the Tivanka Image House.

Lacquer Work (Laaksha): ‘Ganakepēma’ and ‘pāyampēhēma’ are two distinct techniques of traditional Sri Lankan lacquer work.
Ganakepēma: This involves applying heated lacquer in layers onto a wooden object (often turned on a lathe) and creating patterns by incising through the layers to reveal the colors underneath.
Pāyampēhēma (Niyapothu weda): This intricate technique involves creating fine threads of lacquer and applying them to a surface to create delicate patterns, often seen on objects like walking sticks and jewellery boxes. Matale is a region famous for this craft.

The Last Supper: Leonardo da Vinci’s masterpiece, The Last Supper (L’Ultima Cena), is a late 15th-century mural painting in the refectory of the Convent of Santa Maria delle Grazie in Milan, Italy. It depicts the dramatic scene of the last supper of Jesus with his twelve apostles, specifically the moment after Jesus announces that one of them will betray him. It is renowned for its masterful composition, psychological depth, and use of perspective.
Reference: A detailed description and an image of this painting can be found in the Grade 10 Art Teacher Guide, Page 75.

Shunga Period: While the original Great Stupa at Sanchi was built by the Mauryan emperor Ashoka in the 3rd century BCE, the magnificent and elaborately carved four gateways (toranas) were added later, during the Shunga period (circa 1st century BCE). These gateways are masterpieces of early Indian narrative art, depicting scenes from the life of the Buddha (using symbols rather than an anthropomorphic form) and Jataka tales.
Reference: The Grade 11 Art Teacher Guide, Page 139 provides information and images of the Sanchi Stupa and its gateways.

Gupta Influence on Awkana Statue: The Awkana Buddha statue is a masterpiece of the later Anuradhapura period. Art historians have identified a strong influence from the Gupta period of India (4th to 6th century CE), which is considered the classical or golden age of Indian art. Key Gupta features seen in the Awkana statue include:
1. Robe Style: The clinging, transparent-looking robe (ekansa civara) that reveals the form of the body underneath is a hallmark of the Gupta style, particularly from Sarnath.
2. Serene Expression: The calm, meditative, and spiritually transcendent facial expression.
3. Idealized Form: The perfectly proportioned and idealized human form.
Reference: The Grade 11 Art Teacher Guide, Page 64 discusses the features of the Awkana Buddha statue.

Gal Viharaya: The Gal Viharaya (Rock Monastery), originally known as the Uttararama, is a rock temple in Polonnaruwa created by King Parakramabahu I (1153-1186). Its fame rests on the four magnificent Buddha images carved out of the face of a single large granite rock (a live rock). These four images are:
1. A seated Buddha in deep meditation (dhyana mudra).
2. A smaller seated Buddha inside an artificial cave (Vidyadhara Guha).
3. A standing figure, with arms crossed, interpreted either as the Buddha or Ananda Thero.
4. A large reclining Buddha image depicting the parinirvana (passing away).
Reference: The Grade 11 Art Teacher Guide, Page 45 details the features of Gal Viharaya.

Embekka’s Wood Carvings: The Embekka Devalaya, built during the Gampola period, is world-renowned for its intricate and masterfully executed wood carvings. While all its carvings are exceptional, the most celebrated features are the ‘Pekada’ or bracket capitals. These are the carved wooden structures that sit atop the pillars and support the roof beams. Each pekada at Embekka is unique and carved with a diverse range of motifs, including figures of dancers, wrestlers, soldiers, mythical creatures (like the hamsa poottuwa or swan interlace), and floral designs, showcasing the incredible skill of the Gampola period artisans.
Reference: The Grade 10 Art Teacher Guide, Pages 73 & 75 provide detailed information and images of the Embekka carvings.

Padmapani at Ajanta: The painting of Bodhisattva Padmapani (the lotus-bearer) in Cave 1 at Ajanta is one of the most iconic images in all of Indian art. The figure portrays a being of immense compassion and grace. It embodies a sense of spiritually endowed youthfulness, combining a princely elegance with a profound sense of inner peace and detachment from the worldly. The gentle tribhanga (three-bend) pose, the serene facial expression, and the delicate rendering convey a feeling of spiritual grace and empathy for all beings.
Reference: An image and description of the Padmapani Bodhisattva are available in the Grade 11 Art Teacher Guide, Page 144.

Henry Moore’s Sculptures: Henry Moore (1898-1986) was a highly influential British artist best known for his semi-abstract monumental bronze sculptures. He moved away from realistic representation of the human form. Instead, he created abstract shapes inspired by the human body and natural forms like stones and bones. His work often features reclining figures, mother-and-child themes, and explores the relationship between the solid form and the space around it (using piercings and hollows). His art is an abstraction of reality, not a direct copy of it.
Reference: The Grade 11 Art Teacher Guide, Page 104 discusses the art of Henry Moore.

Kelaniya Temple Murals: The murals of the new shrine room at the Kelaniya Raja Maha Viharaya were painted by the artist Solias Mendis in the first half of the 20th century. These paintings mark a revival of classical Sri Lankan art traditions, influenced by the styles of Ajanta and Sigiriya. The subject matter covers two main areas:
1. Events from the life of the Buddha.
2. Jataka Stories, which are tales of the Buddha’s previous incarnations. These stories are depicted in a narrative style and are rich in detail, providing a visual chronicle of Buddhist lore.
Reference: The Grade 10 Art Teacher Guide, Page 49 contains images and details about the Kelaniya murals by Solias Mendis.

Paranavitana’s Theory on Sigiriya Frescoes: The renowned archaeologist Dr. Senarath Paranavitana proposed a famous theory about the identity of the figures in the Sigiriya frescoes. He suggested that they are not mortal queens or concubines but celestial beings associated with clouds and lightning. He named the golden-skinned figures ‘Vijjulatha’ (lightning princesses) and the darker-skinned figures ‘Meghalatha’ (cloud damsels), interpreting the entire Sigiriya rock as a symbolic representation of Alakamanda, the celestial abode of Kuvera, the god of wealth.
Reference: This interpretation is detailed in the Grade 11 Art Teacher Guide, Page 87.

Dravidian Influence in Gampola Period: The Gampola period (14th century) is noted for a distinctive architectural style that blended traditional Sinhalese forms with significant influences from the Dravidian architecture of South India. This was due to increased political and cultural contact with South Indian kingdoms. Key temples of the period like Lankathilaka and Gadaladeniya showcase this synthesis. Features such as the elaborate stone carvings, the design of the mandapa (hall), and the structure of the vimana (roof over the shrine) show clear Dravidian characteristics integrated with local traditions.
Reference: The Grade 10 Art Teacher Guide, Page 65 discusses the art of the Gampola period.

Chaitya and Vihara: Ancient Indian rock-cut architecture, particularly in Buddhist sites like Ajanta, features two primary types of excavated structures:
1. Chaitya Hall: A prayer or worship hall, typically apsidal in plan, with a stupa at the far end. It served as a congregational space for religious services.
2. Vihara Hall: A monastery or dwelling place for monks. It usually consists of a central hall surrounded by small cells or rooms where the monks lived and meditated. The Vihara was the residential and educational part of the monastic complex.
Reference: The architectural layout of Ajanta caves is described in the Grade 11 Art Teacher Guide, Page 146.

Venus de Milo: The Aphrodite of Milos, better known as the Venus de Milo, is an ancient Greek statue and one of the most famous works of ancient Greek sculpture. Created during the Hellenistic period (c. 130–100 BCE), it is believed to depict Aphrodite, the Greek goddess of love and beauty (Venus to the Romans). Though her arms are missing, the sculpture is celebrated for its graceful S-curve pose, serene expression, and the idealized yet naturalistic portrayal of the female form, making it an enduring symbol of feminine beauty.
Reference: An image and details of the Venus de Milo can be found in the Grade 10 Art Teacher Guide, Page 127.

Stylistic Connection (Egyptian Art): Image 21 shows a highly stylized eye, depicted frontally even if the head were in profile. This is the most distinctive convention of ancient Egyptian two-dimensional art. Image A shows a scene from an Egyptian tomb painting where all the figures are drawn according to this convention. Therefore, image 21 is a detail that is directly and characteristically linked to the style of art seen in image A.
Reference: Egyptian art conventions are discussed in the Grade 10 Art Teacher Guide, page 121.

Form and Design Connection (Modernism): Image 22 shows a smooth, abstract, curved form, reminiscent of modern sculpture or design that emphasizes clean lines and form over ornamentation. Image B, a modern toilet bowl, is an example of industrial design where function and minimalist form are key principles. The ‘close connection’ here is based on the shared aesthetic of smooth, simple, and functional form that is characteristic of modernism and modern design.

Compositional Connection: Image 23 is a detail from a Cubist painting (like Picasso’s work), characterized by the fragmentation of form and the depiction of a subject from multiple viewpoints simultaneously. Image E is a narrative stone relief, likely from an ancient Indian stupa (e.g., Amaravati), which shows a dense and complex composition with many figures overlapping and interacting to tell a story. While stylistically very different, the connection lies in the complex organization of forms within the picture plane to convey a rich visual experience, be it a multi-perspective analysis (Cubism) or a detailed narrative (Relief Sculpture). This match is often made by elimination in this specific question set.

Motif Connection (Sri Lankan Art): Image 24 shows a stylized decorative base carving. This type of carving is a characteristic part of a ‘Punkalasa’ or pot of plenty, a symbol of prosperity and abundance in Sri Lankan art and architecture. Image D clearly shows a complete ‘Punkalasa’, which often serves as a decorative element at the base of guardstones or balustrades. Therefore, image 24 is a detail directly related to the object in image D.

Decorative Motif Connection (Kandyan Art): Image 25 depicts a stylized floral design, or a rosette. Such decorative motifs, often part of larger scrolling vine patterns (‘liyawela’), are a hallmark of the Kandyan period of Sri Lankan art. They were used extensively to fill space and adorn surfaces. Image C shows a Kandyan period painting, where similar decorative floral and abstract patterns are used to embellish the background and the figures’ clothing. Thus, the motif in 25 is stylistically connected to the art period shown in C.
Reference: An example of a similar floral motif (Pekada design) can be seen in the Grade 10 Art Teacher Guide, page 99.

Vahalkada (Frontispiece): A Vahalkada is a structure erected facing the four cardinal directions of a stupa. It functions as an ornamental gateway and a place for offering flowers. Originating in the Anuradhapura period, these structures evolved from simple wooden fences to elaborate stone constructions. They are richly adorned with carvings of animals, floral motifs, and divine figures, making them significant artistic features of ancient Sri Lankan stupas.

Shikhara: The Shikhara (meaning ‘mountain peak’ in Sanskrit) is the rising tower or superstructure above the sanctum sanctorum (Garbhagriha) of a Hindu temple, particularly in the Nagara style of North Indian temple architecture. It is the most prominent and recognizable part of the temple’s exterior, often curvilinear in shape and culminating in a finial called an ‘amalaka’. Its South Indian equivalent is the ‘Vimana’.

Padmanidhi: In Hindu and Buddhist iconography, Padmanidhi (‘lotus treasure’) is one of the two main nidhis, or treasure guardians, who serve Kubera, the god of wealth. He is depicted as a dwarf-like figure (gana) and is often shown holding a lotus (padma). His counterpart is Shankhanidhi, who holds a conch shell (shankha). These figures are commonly found as decorative carvings at the entrances of temples and shrines, symbolizing prosperity and auspiciousness.

Tribhanga: Tribhanga (literally ‘three bends’) is a traditional standing posture or body pose in Indian classical art, including sculpture, painting, and dance. The body is curved at three points: the neck, the waist, and the knee, creating a graceful ‘S’ shape. This pose imparts a sense of rhythm, movement, and sensuous grace to the figure. It is very commonly used for depicting deities, celestial beings, and dancers, as seen in the Padmapani figure at Ajanta and countless other examples.

Pannam Kalala (Palm Leaf Craft): The term is a romanization of the Sinhala ‘Panan Kalāva’ or Tamil ‘Pannam Kalai’. ‘Pan’ refers to the leaves of palms like the Talipot or Palmyra palm. ‘Kalāva’ or ‘Kalai’ means art or craft. Therefore, the term refers to the traditional Sri Lankan folk art of weaving and crafting items from dried palm leaves. This craft is used to make a variety of functional and decorative objects, including baskets, mats, fans, and boxes.

The Sarnath Buddha Statue – A Masterpiece of Gupta Sculpture: The image referenced from page 145 of the Grade 11 guide is the famous seated Buddha statue from Sarnath. This sculpture is universally acclaimed as one of the greatest masterpieces of Indian art and is a quintessential example of the classical Gupta period (c. 4th – 6th century CE).

Key Characteristics of the Sarnath School of Gupta Art seen in this statue:
1. Theme and Pose: The statue depicts the Buddha giving his first sermon. This is symbolized by the seated yogic posture (Padmasana) and the hand gesture of Dharmachakra Pravartana Mudra (turning the wheel of law). The pedestal below features a wheel flanked by deer, representing the Deer Park at Sarnath where the sermon took place.

2. Idealized Form and Expression: The figure embodies a perfect balance between spiritual grace and physical form. The face has a serene, sublime, and introspective expression with downcast eyes, conveying deep meditation and inner peace.

3. Diaphanous Drapery: A key feature of the Sarnath style is the treatment of the robe. It is rendered as completely smooth and transparent (diaphanous), clinging to the body like a wet cloth and revealing the idealized form underneath without any visible folds. This contrasts sharply with the heavy, folded robes of the Gandhara school.

4. Material and Finish: It is carved from Chunar sandstone, polished to a smooth, flawless finish.

5. Ornate Halo (Prabha Mandala): The large, circular halo behind the Buddha’s head is exquisitely carved with intricate floral and geometric patterns.

These features combine to create an image of spiritual perfection and tranquility, which is the hallmark of the classical Gupta artistic tradition.
Reference Location: Grade 11 Art Teacher Guide, page 145.

Michelangelo’s Pietà: The ‘Pietà’ (1498–1499) is a world-renowned marble sculpture by the High Renaissance master Michelangelo, housed in St. Peter’s Basilica, Vatican City. The work depicts the body of Jesus Christ on the lap of his mother, the Virgin Mary, after the Crucifixion. It is a profoundly moving work, celebrated for its technical mastery, the realistic depiction of anatomy and drapery, and the poignant expression of sorrow and divine grace.
Reference: An image of the Pietà is in the Grade 10 Art Teacher Guide, page 79.

K. Kanapathipillai: The painting ‘Reading Boy’ (කියවන ළමයා) is a work by the modern Sri Lankan artist K. Kanapathipillai (කේ. කනකසභාපති). He was a Tamil artist from Jaffna who developed a style influenced by Cubism and other modernist trends, yet rooted in local themes. His work is known for its stylized forms, strong lines, and unique color palette.
Image Location: This painting is featured and attributed to K. Kanapathipillai in the Grade 11 Art Teacher Guide, page 70.

Karaikkal Ammaiyar – A Study in Devotion: This powerful bronze sculpture from the Polonnaruwa period (c. 12th century AD) represents Karaikkal Ammaiyar, one of the 63 Nayanars (saints of Shaivism).

1. The Story and Theme: Karaikkal Ammaiyar was a beautiful woman named Punithavathiyar who was an ardent devotee of Lord Shiva. To escape the bonds of worldly life and physical beauty and dedicate herself entirely to the worship of Shiva, she prayed to him to take away her flesh and blood. Shiva granted her wish, transforming her into a skeletal, emaciated form. The sculpture captures her in this emaciated state, ecstatically playing cymbals (thalam) in praise of her lord. It is a powerful statement on the transcendence of the spirit over the physical body.

2. Artistic Significance:
• Departure from Idealism: This work is a radical departure from the conventional depiction of the female form in classical South Asian art, which typically celebrates idealized beauty and sensuous grace. Instead, it focuses on conveying the intensity of spiritual devotion (bhakti).
• Expressive Power: The sculpture is highly expressive, using the skeletal form, the act of music-making, and the dynamic pose to convey a state of spiritual ecstasy and liberation from the physical world.

3. Style and Technique: This sculpture, found in the Shiva Devale No. 5 in Polonnaruwa, is a masterpiece of bronze work, likely created using the lost-wax casting method. The style shows strong influence from the Chola art of South India, which was prevalent in Polonnaruwa during this period.

Reference Location: The sculpture of Karaikkal Ammaiyar is featured and described in the Grade 11 Art Teacher Guide, page 144.

Purpose of Modern Art: Modern and contemporary artworks, such as the painting by Sumana Dissanayake, often move beyond traditional purposes like religious devotion or historical recording. Artists frequently use their work as a medium for personal expression and to comment on social, political, or cultural issues. The expressive style, distorted figures, and somber theme in painting J suggest that its primary purpose is to convey a personal vision or to critique or reflect upon a particular aspect of society or the human condition.

Location of the Painting: The painting is ‘The Good Samaritan’ by David Paynter. It is one of the several large murals painted by the artist that adorn the walls of the Chapel of the Transfiguration at Trinity College, Kandy. Paynter created these murals between 1929 and 1935. The chapel is renowned for these paintings, which blend Christian themes with a distinctly Sri Lankan setting and characters.
Reference: The painting is featured and described in the Grade 10 Art Teacher Guide, pages xxi, 61 & 62.

The Artist – David Paynter (1900-1975): David Paynter was a celebrated Sri Lankan artist known for his masterful portraits and large-scale religious murals. Trained at the Royal Academy of Arts in London, his style combined Western classical realism with a deep appreciation for the Sri Lankan people and landscape. His most famous works are the murals at the Trinity College Chapel, where he depicted biblical scenes using local people as models and set against Sri Lankan backdrops.
Reference: The artist and his work are discussed in the Grade 10 Art Teacher Guide, pages 61 & 62.

Theme – The Good Samaritan: The painting depicts the biblical parable of the Good Samaritan, told by Jesus in the Gospel of Luke. The story is about a traveler who is stripped, beaten, and left half dead alongside the road. A priest and a Levite both pass by without helping, but a Samaritan stops to offer aid. The parable’s central theme is compassion for one’s neighbor, regardless of their social or religious background. Paynter sets this universal theme of compassion in a Sri Lankan context.
Reference: The theme is explained in the Grade 10 Art Teacher Guide, page 62.

Composition of the Painting: David Paynter uses a classical compositional structure to organize the scene. The central group of figures—the Good Samaritan tending to the wounded man with the help of another figure—are arranged in a stable and harmonious triangular (or pyramidal) composition. This classical device focuses the viewer’s attention on the central action and imparts a sense of balance and monumentality to the scene. The figures are placed prominently in the foreground, emphasizing their importance.

Expression of Feelings: The entire painting is suffused with a mood of deep compassion and care. This is conveyed through the gentle and focused actions of the Samaritan as he tends to the injured man. The body language of the figures, the soft lighting on the central group, and the serene expressions all work together to create a powerful feeling of human kindness, empathy, and selfless service, which is the core message of the parable.
Reference: The emotional content and theme are discussed in the Grade 10 Art Teacher Guide, page 62.