Sri Lanka southwest
Serenity of remote temples, and Ambalangoda
Small Buddhist temples, serenity and rococo from South Asia
The attraction we had already felt for remote Buddhist temples, away from bustling cities and even villages has been widely confirmed.
On the chosen height, generally away villages, always protected behind a screen, which is also a showcase lush greenery, they bathe in an atmosphere of almost perfect serenity, far from the crowds of Kandy or Colombo.
Those we have seen using the means of transportation described, are fairly well maintained.
If they always present several statues of Buddhas, at least one stupa and frescoes illustrating the life of the very venerable, they differ in the size of the statues, the more or less realistic and expressive manner, in flat images or in low reliefs, to illustrate events relating to the Buddha.
They sometimes also evoke the historical context, such as the old clashes (not those of the last too recent episodes) between Tamils and Sinhalese.
Usually we are alone with our tuk tuk driver and a monk.
the perfect silence allows you to take the time for contemplation and observation.
Whether the ground is sandy or rocky, the course necessarily barefoot under the scorching sun before entering the temple, becomes a path on the embers, which we are trying to cut short.
In the center of all the buildings sits a stupa surrounded by a saffron ocher band which could be of silk, perhaps on the occasion of one of the many past or future festivals such as the Full Moon.
Inside where a young monk leads us, behind a veil curtain, a very imposing seated Buddha meditating, with very evocative serenity, impresses with his majesty and the gaze which seems to scrutinize with benevolent severity that of the pilgrim who passes by.
TO about 4 km east-southeast of Hikkaduwa, here is the Morakola Gangarama temple,
set back from the lake Ratgama.
The white facade which is the entrance to the
temple is of refined elegance,
rather Thai inspiration.
On the walls of the gallery of side building, large panels representing scenes from the life of the Buddha, very figurative, truly like a comic strip.
The frame of one of the temple's doors is decorated with traditional motifs (Makara at the top, Torana in top of the door), with this refinement in detail, this sensuality postures and a great decorative wealth typical of rather Thai sacred art.
We notice at the top right an astonishing rabbit and on either side of the door a drawn representation of Sandakana prahana , failing to have it concretely installed on the ground.
But the most extraordinary is the profusion of very colorful, figurative statues, organized in successive often realistic scenes, opposing the fury and cruelty here, with serene harmony elsewhere, certainly meant to impress the visitor.
They line up sometimes also along a high wall with beautiful perspectives.
The whole - one should say Asian rococo, or even kitsch without pejorative connotation - is of a successful realism, meticulous, quite similar to the smaller scale representations climbing the Hindu temples.
Between a few objects and furniture of everyday life, warriors, princes and princesses, lions, trained cobras, blue demons, bloody sabers, children sliced or strangled, all surround the Buddha, with a symbolism of colors that we can guess reasoned.
This "Asian rococo" effect certainly unintentional (since this word is typically Western) is further reinforced by the background of these scenes, large panels painted with the same colored effects, which represent other figures observing with fear or wonder the foreground of statues.
The characters are represented in full size, so that the young monk among them with his saffron robe seems to fit into the scene he is commenting on.
Marlene slips away under the inquisitive gaze of a mustached warrior.
Is this the popular aspect of Buddhist art here, for this kind of temple which seems rather recent (19th or 20th century?).
Going towards Ambalangoda at north of Hikkaduwa, set on a tiny islet 150 meters from the coast, we can see from the road another small white temple topped with palm trees of the most beautiful effect which seems to be moored on the splendid water.
This is the Seenigama Vihara temple.
Pleonasm, since "vihara" means "monastery" and by extension of language "temple".
According to Le Petit Futé , in addition to its picturesque, it has an original feature: it is " one of the only temples on the island where the victims of a theft can claim revenge. To do this, they need to acquire an oil from the temple. to burn specially prepared with chilli and pepper. Burning it by reciting a mantra as soon as they return home ensures that they will see the thief punished in the days or weeks that follow. "
We will not take the time, either by swimming or by boat, to visit it.
North-east of Ambalangoda, on a hill surrounded by large cinnamon plantations, through tracks that we will travel by tuk tuk, here is another remarkable temple, that of Galagoda, in the village of Karandeniya, perched at the top of a rocky platform that the sun sets ablaze.
a traditional golden buddha standing this time, sheltered under a canopy, and whose wind blows a part of her dress, seems levitating above a huge lotus flower purple beside of an unsurprising stupa.
But this temple stands out above all for a tall, long building which, from the outside, resembles a large shed with beautiful decorated doors. Until then, nothing but fairly mundane.
TO inside, we understand better the reason for the dimensions of the building: a colossal reclining Buddha is represented lying down, the head resting on an enormous bolster.
It is said to be the largest reclining Buddha on the island, around 35 meters. Guides indicate that its exact length cannot be known as it would be sacrilegious to measure it. It would date from around 800 years ago, during the time of the king Parakramabahu II (1291 - 1302).
All things considered, the feet are enormous.
The whole had to be restored recently when one notices the intense freshness of the colors, including under the roof fully decorated. Impression corroborated by the decay in which found it other older guides.
The abandoned place, often looted, was no longer occupied by bats whose droppings had blackened the statue. He seized by its stench.
The work seems not to be completed yet since a scaffolding remains above of the giant's calves.
A precious historical site who has come back from afar, saved by the cult fervor of the Theravada current specific to Sri Lankan Buddhism.
So overall, the much older workmanship of the statues is less expressive than that of the Morakola Gangarama temple, for example, it emanates a worthy nobility of all beauty.
A global view can barely see the head resting and in the background, over there, the feet.
King Elara
The other feature, in the entrance gallery parallel to the reclining Buddha, is a beautiful perspective of tall, full-length statues representing other Buddhas or his disciples.
At last face to face at each end of the gallery, behind grids which seem to hold them back, a group fierce warriors, each led by their prince mounted on a caparisoned elephant.
On the one hand, it is the Tamil army (that of the ancient lords of the north) led by King Elara, on the other hand, the Sinhalese army led by King Dutugemunu, who are preparing to attack. face, in the 2nd century BC.
The 208 steps leading down to the slope opposite to that of our arrival lead to the village of Karandeniya on the hill opposite.
King Detugemunu
On one of the return paths by tuk tuk, the driver lets us visit for a few minutes (the package of almost 800 rupees is one hour) another temple, which is that of his village.
Certainly more recent, it does not lack allure and charm, in its immaculate whiteness.
Under the central roof, the sacred stucco tree houses the four representations of the Buddha seated at the cardinal points.
A little ... of Theravada Buddhism
The Theravada is one of the three branches of buddhism, more next to primitive buddhism than other existing Buddhist traditions. It is the oldest branch.
the Sri Lanka is defined as the cradle of Theravada Buddhism. Its introduction begins in the 3rd century before J.-C.
His insularity protected him external invasions. The Doctrine of the Ancients thrives there; two centuries later, the buddhist canon Theravada in language pali , named Tipiṭaka , is written by an assembly of monks on palm leaves. At this time, Sri Lanka became the spiritual center of Theravada Buddhism, followed mainly by the Sinhalese ethnic group . The aim was thus to fix for the first time in writing the Dhamma , taught and transmitted until then orally.
Against the current usage, the term "Theravada" should never be used to designate ancient or primitive Buddhism, but only the current Sinhala which was formalized around the 5th century. of our era.
The doctrine of theravada explains how to achieve deliverance oneself by becoming:
- a arahant (person delivered because he followed the path taught by the Buddha without benefiting from omniscience),
- a bodhisattva (person who absolutely seeks to become a Buddha to teach by practicing the so-called virtues paramita) or
- a sambuddha (" perfect buddha ”, Person who, having a perfect understanding of the teachings of the Buddha, accesses enlightenment and can teach).
According to the canon pali , the Buddha would have said : " We are our own refuge. Who else could be the refuge ? ".
What means that no one can be expected to obtain enlightenment. One must seek the truth within oneself and, in order to achieve this goal, follow the Noble Eightfold Path .
She categorically rejects the idea of a creator and almighty God, as well as the idea of salvation obtained by devotion alone and the worship of relics.
This is enough to seduce an atheist.
The modern and popular fervor to which it is possible to testify, however, seems to show that divine existence and the search for salvation by offering, less demanding for oneself, most permeates the practice of pilgrims.
Sri Lanka, Ambalangoda,
fishing port and fish market
In Ambalangoda, in the street parallel to the coast which fits between the latter and the main road by which we came, is what seems to be the commercial heart, with shops selling a lot of fish, fresh but also dried.
Le Routard treats this activity with a little condescension and without expressing any major interest in it.
Yet the smell of dried fish is not insupportable.
The orderly piles of dried fish of all sizes, spread over vast cardboard boxes or baskets, woven or suspended, are not lacking in picturesque and certain authenticity.
In large bags or other neighboring baskets breathe spices, next to small potatoes or other vegetables
The sale of oil is done like my grocer's grandfather 50 years ago, with hand pumps mounted on metal cylinders.
The skinny fishermen with fierce eyes do not give us the best welcome when we approach the makeshift huts erected between the weeds and the coconut trees on the shore, below the wooden stalls of the small market. Discretion.
Further on, other boxes have more the appearance and clarity of residential houses.
Likewise, Wooden stalls washed with plenty of water display the fresh fish for sale, small tuna, a portion of shark which is cut into slices, cuttlefish .... and many other varieties.
Not to mention the sturdy little scales, the cash register which here is only a plastic basin, newspapers intended to wrap the fish, all against a tuk tuk.
Despite a "Sam Lanka Ice" refrigerated truck parked near the fishing boats, no trace of ice on the stalls.
Direct from the fisherman to the consumer with one imperative: cook very quickly.
The port a little lower down is fitted out in a sort of small roadstead almost closed off by a jetty made of accumulated stones.
At the bottom are arranged, closely side by side the colorful boats, all bristling with what are perhaps fishing rods, and many small short banners in Buddhist colors.
Some motorless boats have this narrow hull where only one man can sit, and a rustic outrigger whose arm is made of light but strong bamboo rods. Only the float is standard, made of cast resin.
Sri Lanka,
good use of local natural resources: bamboo
the bamboo in these tropics is very widespread; its use is not limited to the boat's outrigger.
Long and flexible pennant or flag pole as for example at Galle cricket stadium, it is often also found as props in the construction of houses or small buildings, in place of expensive metal props, and in scaffolding and "structural supports" for the building.
Specialists say in fact that it has better resistance to pressure than steel.
A kind of ecological and economic optimum, but also ... basic food pandas, which has many other interests.
In addition, for producers, it is not a species of wood but a self-regenerating plant of the grass family, such as cereals, or certain herbs: no need to replant; he creates his own shoots. And its growth is rapid.
Everything to please.
Sri Lanka
Ambalangoda, museum of sumptuous masks, light wood and strychnine
At the northern end of the village, after having passed beautiful and vast houses which clash when you leave the very popular fish market, where this intermediate street joins the main road there is a well-known mask museum.
Private museum owned by the Ariyapala family.
For Géo magazine, this museum is the island's mask capital and the guarantee of the authenticity of Sri Lankan masks.
In this private establishment, the freshness of the air conditioning is enjoyed with a certain pleasure on entering this establishment, the traditional masks which were used for feasts and ancient theater, dance, and other ceremonies and processions are made and exhibited.
A workshop under an evertite awning allows you to see a few craftsmen at work making the masks, sculpted on wood, to which they apply carefully very colorful paintings.
It is said that in the past, masks were sandblasted with rough leaves or shark skin. Today, they are small millstones.
The exhibition is very rich, with masks of very different sizes, in flamboyant colors, all with bulging eyes, wide open jaws with very strong white teeth whose canines are often oversized like elephantine tusks, often tongue hanging out, nose with broad nostrils or beak.
The back of the head is still wrapped of a sort of crown with brilliant colors and shapes evoking two main symbols, the feathered tail of the peacock making the wheel and the erect cobra, often multiplied, all stylized with reference to the legends of the Buddha and local myths.
The effects are sometimes comical, hilarious, often intended to frighten with grimaces, with an inexhaustible diversity of inspiration, and decorative motifs which are reminiscent of those of Mayan temples for example.
Other less numerous masks do not present this sumptuous finery but are provided, instead of a long and shaggy hair. The 18 demons?
In white or dark wood, beautiful heads probably also reproducing those of temple statues.
The prices are up to the quality without being excessive.
But where to place such a beautiful mask at home without fear of having to make it the central element of a wall? or without having a stroke at night in front of a demon? And finally to give it too much space ...
We use different hardwoods such as ebony, teak, sandalwood, but here preferentially light wood which is similar to balsa (this wood for example used by the Maleku Indians of Costa Rica to make their own masks) ; this is "kaduru" or wood vomiquier.
From its fruits we extract strychnine , discovered by French scientists in 1818, the effects of which depend greatly on the dosage.
At low doses, its emetic effect is known, hence the name of the tree in French. Corn it is also a doping product widely used by sportsmen at the beginning of the 20th century, and of which Hitler was later injected up to 6 doses per day to hold out under the Soviet bombardments of Berlin.
Finally, at a higher dose, it causes death.
But back to the masks. Connoisseurs distinguish three kinds :
- kolam masks : of popular culture, they are used during theatrical performances.
- raksha masks : worn during processions and celebrations. They refer to the demon king of Ravana. They represent cobras, nagas, garudas or gurulus, a snake-eating bird.
- the sanni masks : they serve to exorcise illness, physical or mental. Each mask represents a particular type of disease. There are 18 different ones in total, denoting earaches or toothaches, boils, insanity or blindness as example.
On the lower floor, it's a fairly educational exhibition, well organized and staged, which features older and very authentic rustic masks, carefully explaining and illustrating the history of popular and royal theater in India and Sri Lanka.
But also reproducing with a few mannequins particular scenes, and telling how to extract the demons that are the cause of diseases.
Only the attitude, marked by haughty condescension of one of the guides, probably used to meeting more refined tourists, English speakers in addition, spoils the course a bit, especially as she hurries to deliver her speech in English and then leaves us to ourselves.
The comments posted in English are fortunately very complete and sufficient for the overall understanding, as long as there is sufficient time to go through them and that one is interested in the context.
We learn a little about how the ancestral theater, what royal or popular characters were, with the Buddha, the heroes, what fables are the subject.
Sri Lanka,
snapshots of weddings
We may wonder what link it can be between the mask museum above and the photos memories of just married Sri Lankans and their family, in certain settings that seem to them aesthetically deserve it.
Photos that remain however, even in modern custom, very cliché, standard, "boat" memories, ultimately banal, but here spectacular for the voyeuristic tourist.
Our Western custom is the same in this regard, just as "cliché" and conventional.
In fact, we are witnessing one evening in the courtyard of our hotel to a sort of parade of a wedding, bride and groom, families and guests.
Under the starry frangipani trees with their heavy white flowers, the sweet scent of which only exhales when you plunge your nose into it, and the inevitable and always spectacular "traveller's tree", a wedding parade is preceded of dancers.
Some carry a long horizontal tambourine which they hammer on the sides; the dancers perform a very particular choreography, familiar to the guests. They are certainly dressed in the old fashion of the country.
Their costume, in a much more richly decorated version, is indeed near that of the "tambourine" from the Ambalangoda museum above: same long tambourine, carried horizontally, which is struck at the ends, same sort of bolero with scalloped skirt. But the costume of our wedding dancers is more sumptuous, the headdress long and the more elegant turban, the legs covered with baggy pants.
Before entering and then disappearing into a large reserved room of the hotel, in apotheosis, small fireworks finally crackle for a long time in the twilight, fleeting illustration of the traditional splendours of yesteryear in the court of kingdoms.
And again, no elephant decorated and caparisoned with moonstones.
Just like the elephant dispensary, the hotel where the setting has a certain aesthetic value (perspective on the horizon of the ocean, advantageous framing, potentially artistic backgrounds, ...), is a privileged place and notorious enough to realize wedding photos.
If the bride in her sari is inevitably of radiant beauty, for the husband, a certain awkwardness of posture, a belt too high adjusted on the belly, and here is the photographer obliged to take again, to mask the defects by making take other poses for example in reverse shot, while young girls and groomsmen play.
Probably reserved for a wealthy class, when we see the team of photographers, their tools, and the attire of the bride and groom as well as the family that accompanies them.
