Features
Perspective of the Moment: Murals at Gotami Viharaya
By Uditha Devapriya
Commissioned in 1939 and completed a year later, the murals at Gotami Viharaya in Borella represent a high point of 20th century Buddhist temple art. Painted at a time of world war, they occupy a world away from the art décor, art nouveau, and rococo styles that had come to prevail in Buddhist temples. Borrowing from the past, they also subvert its tropes. Rooted in tradition and convention, they are also bold and modernist.
The Viharaya was constructed in 1925 on land owned by Lady Apollonia de Soysa. The mother of Sir James Peiris, Lady de Soysa belonged to the colonial elite in British Ceylon. By inheritance and marriage, her family was connected to some of the most important figures in 20th century Sri Lanka, who played a major role in rejuvenating the country’s culture. Lady de Soysa’s grandson, Harold Peiris, devoted much of his life to these efforts, while his cousin Harry Pieris went on to become a leading national painter.
It was against this backdrop that Peiris persuaded his brother-in-law George Keyt to paint the murals at the Gotami Viharaya. Keyt did not accept a payment for the commission, though his benefactors provided him with the material: one report indicates the paint alone cost Rs 35,000, a huge sum back then.
By now, George Keyt had fully abandoned his Anglican upbringing. Renouncing his middle-class inheritance, he had first attempted to enter the path of a Buddhist monk. He then began contributing to arguably the most seminal Buddhist publication in the country, The Buddhist Annual of Ceylon. Over the next few years he drew sketches from the life of the Buddha, the Jataka Stories, and classical Sinhala texts, for other publications, including the Ceylon Daily News Vesak Number and Observer Annual.
In her book Buddha to Krishna: Life and Times of George Keyt, Yashodhara Dalmia contends that in all this, Keyt was shaped by the growing tide of Buddhist nationalism.
This is a fairly accurate observation. But it reduces Keyt to a passive receptacle, a byproduct of various external developments. Keyt’s response to the Buddhist revival was radical, for it represented an affirmation of an ancient tradition. Yet at the same time, as Dalmia notes, he did not let the revivalism of his time dictate his conception of art. The sketches he drew for The Buddhist Annual, which predict his paintings for the Gotami Viharaya, are at one level respectful of the characters they portray. Yet they are also bold and innovative. The painter regards his subjects with justifiable awe. But he does not deify them.
Keyt’s sketches in the 1920s and 1930s are evocative of the figures of the celebrated British painter and sculptor Eric Gill. By the late 1930s, however, he has grown fascinated with the curve, a hallmark of traditional Sinhalese painting. Most of his sketches from this period, featured in publications like the Daily News Vesak Number and the Observer Annual, are well-rounded and well curved. This is especially so of his female figures.
One sketch, of Mahamaya Devi sleeping on her bed, stands out in particular. Languid and relaxed, she is well poised even at rest. Though only a sketch, we can almost imagine the colour of her flesh, the thoughts on her mind.
Dalmia notes that Keyt did not come up with preliminary sketches of the murals at the Gotami Viharaya. This may be because he had done them many times before, elsewhere. The sketch of Mahamaya Devi at rest, for instance, predicts his portrait of her in the temple. Such parallels underlie a sustained evolution in his career.
For these reasons, we cannot comment on the Gotami Viharaya murals in isolation. They must be placed in their context. From the soft, languid figures of Siddhartha, his wife Yasodhara, and his disciples and associates, to the writhing, contorted figures of Mara and his army, Keyt exhibits a grasp of multiple styles.
More than anything, one notices an attempt at humanising his characters. Unlike traditional Kandyan temple art, the murals at Gotami Viharaya are lifelike, certainly life-sized. Yet they are hardly larger than life. Tellingly, Keyt chose not to include the suvisi vivarana and sath satiya, episodes that follow the Buddha’s attainment of Enlightenment.
- Queen Mahamaya at Rest. Daily News Vesak Number 1936. Courtesy J. R. Jayewardene Centre
- The Buddhist Annual of Ceylon 1923. Courtesy J. R. Jayewardene Centre
By contrast, the artist dehumanises Mara and his army. They are made to stand apart from the rest, and we are made to see them as such. They are the “Other”, and as such exist away and apart from his other figures and depictions.
Lionel Wendt liked the original sketches that Keyt drew, and suggested that he leave them in that form. Wendt had seen Keyt’s sketches Keyt in the 1930s and may have felt the murals would look more distinctive as sketches. Keyt, however, insisted on painting them in colour. In his choice of colours, he departed from convention: he made the whites and greens more prominent, balancing them against the reds, yellows, and browns.
In other words, he was ready to do away with convention, but not to the point of rupturing with them completely. This somewhat ambivalent attitude epitomised most of the 43 Group, a point Qadri Ismail brings up in his critique of that artistic collective.
“The most celebrated members of that male institution – Keyt, Wendt, Justin Däraniyagala, [Ivan] Peries – produced stunning, innovative work and, as is now well known, the group itself determinedly introduced modernist painting to Sri Lanka in the face of powerful opposition from a conservative, realist, colonial art establishment. However, it is also necessary to insist, from the perspective of our moment, that the group’s staging of Sri Lanka in its artistic production… was profoundly complicitous with both orientalism and the problematic of Sinhala nationalism.”
When first shown the outlines of the murals, we are told the monks at the Viharaya raised concerns over their depiction of female sensuality. Unlike most murals, Keyt had chosen not to feature fair-skinned women in his panels: almost all of them are brown-skinned. At one level, that represents an attempt to de-exoticize the South Asian woman, something Dalmia emphasises in her book.
Yet at another level, it betrays his fantasies and his obsessions about that specific feminine type. It is possible that in all these paintings Keyt was evoking his wife, Pilawela Menike, who occupied his life and dominated his passions.
In other words, in a pattern reminiscent of most of the other members of the 43 Group, Keyt’s radical conception of art was tempered by a somewhat conservative counterpoint, be it in his choice of colour or his mode of representation.
From the perspective of their moment (or the moment of their perspective?), of course, these murals do represent a break with tradition, and they should be discussed, praised, or critiqued in that light. But perhaps owing to their inability to go beyond the visual confines of the medium they worked in, the 43 Group became, as Ismail notes, “complicitous” both with nationalism and, ironic as it may sound, orientalism.
There is nothing overtly orientalist about the murals, of course. Yet in the female figures which adorn these walls, there is an attempt, however vague or slight, to translate his obsession with dark-skinned women into a definitive form. This, we believe, may explain his reluctance to leave the murals in sketch outline: he knew, and not wrongly, that they would lose their character if not in colour.
Today the Gotami Viharaya stands on the side of a residential road in Borella. Keyt’s murals, on walls designed by the British architect Andrew Boyd, contrast sharply with the buduge, which features murals more in line with conventional 20th century styles.
George Keyt’s contribution to the Buddhist revival, as a writer, a poet, and a painter, comes out beautifully in these panels. They reflect his abilities, and no doubt also his limitations. Yashodhara Dalmia describes the Viharaya as “perhaps the second most visited monument after Sigiriya.” Yet today it stands in isolation from its surroundings in Colombo, indeed from the rest of the country. That is a pity, for at the temple we discern a high point not just in Sri Lankan, but also South Asian and Asian art.
Uditha Devapriya is a writer, researcher, and analyst based in Sri Lanka who contributes to a number of publications on topics such as history, art and culture, politics, and foreign policy. He can be reached at udakdev1@gmail.com
Features
Is power devolution under JVP-NPP a political daydream?
The JVP General Secretary Tilvin Silva’s recent remarks at a news conference in Jaffna where he ruled out the possibility of holding provincial council elections this year has been widely reported and widely criticized. About the same time there was another media event in Jaffna that went largely unnoticed and unreported outside Jaffna. What was said at the second media event may carry far more political implications than Tilvin Silva’s election timing talk. A veteran Tamil political participant made the startling yet not implausible statement that the prospect of having political devolution under the JVP-NPP government is becoming “a daydream”. The statement was made by Dr. K. Vigneswaran, who served as Provincial Secretary to the only North-East Provincial Council Government that was elected under the auspices of the Thirteenth Amendment.
Dr. Vigneswaran is a Professional Civil Engineer who studied at Royal College, graduated with First Class Honours in Engineering in 1964, and went on to complete a pioneering PhD at the university of Waterloo, Canada, applying the finite element method (FEM) in the field of Geotechnical Engineering. His engineering career has always been at the Irrigation Department where he rose to a Deputy Director. That was when the department was in its golden years, and Vigneswaran was known for his technical mentorship, meticulous administrative skills, and for knowing the fine print of everything. While at the Irrigation Department, Vigneswaran married Ramya de Silva, a fellow irrigation Engineer. After 1983, Vigneswaran became a fulltime political activist and a powerful resource in Tamil politics, but with unwavering commitment to nonviolence, democracy and federalism. The family moved first to India and then Canada, and Vigneswaran has been shuttling between Canada and Sri Lanka.
Devolution: Tortuous Trajectory
Since 1987, the Indo-Sri Lanka Agreement, and the 13th Amendment, Vigneswaran has been a permanent fixture in all the politics and institutional dynamic of implementing 13A and establishing provincial councils. He served as Secretary to the only elected Provincial Government for the Northern and Eastern Provinces. After 1994 and the election of Chandrika Kumaratunga as President, Vigneswaran became a key participant in all the civil society efforts and government initiatives to restore the PCs and implement 13A, both during the Kumaratunga presidency and the succeeding administrations of Mahinda Rajapaksa and the Sirisena-Wickremesinghe duo.
Devolution efforts stalled after the election of Gotabaya Rajapaksa, who in so many words declared that he had no time for 13A or PCs in his presidential agenda, whatever it was. Only that his whole agenda turned out to be a wholesale disaster for the country. Already by then, all the nine Provincial Councils had fallen into abeyance with the cancellation of the 1988 PC elections by the Sirisena-Wickremesinghe duo, with the TNA standing by. The abeyance continues under the JVP-NPP government with no apparent end in sight after Tilvin de Silva’s statement in Jaffna.
I say all this to provide the proper context for Vigneswaran’s statement in Jaffna that the prospects for power devolution under the JVP-NPP government are becoming a political daydream. He said something else as well: that of all the government leaders he has encountered over the years, the only leader who has been genuinely sincere about power devolution is former President Chandrika Kumaratunga, and no one else. I am constrained to add that the insincere category would include Ranil Wickremesinghe, who for all his handsome promises, never matched any of them with experiential sincerity. The present JVP-NPP government still has time to show that they are not an insincere lot.
It is not my purpose to agree with or question Dr. Vigneswaran’s assertions, but to use them as cue and context to comment on the widening mismatch between the JVP-NPP government’s promises and its practices on the matter of power devolution and the restoration of the PC system. With a stalling economy, rising prices and external shocks, it is obvious that the government has all the economic matters to worry about, but that does not mean that it can ignore all the other government responsibilities. No government is put in power to solve a single problem or address a single issue. It is in the nature of governments to deal with multiple problems with varying priorities. Otherwise you could have a single cabinet minister to deal with one problem at a time. That is never going to be the case.
The economy is of course the top of mind priority for the government even as it is a top of mind concern for the people. Even on the economic front, the government is holding steady but is showing little progress. And there are other government initiatives where political accountability will call for answers: to wit, the catchall Clean Sri Lanka programme, ambitious educational reforms, contentious energy sector reforms and, yes, power devolution as well as the overpromised constitutional reforms. Not to mention the sprawling unforced errors over substandard coal imports, foreign exchange fraud, and the chronic neglect of developing the renewable energy sector. Correcting these fields of errors may require a separate ministry for each.
Devolution: Daydream or Deliverable
On the PC system and constitutional reform, there has been scant progress in spite of handsome promises. On both, the government is inadvertently deepening the holes that it had dug itself into through indifference, inaction or procrastination, or all of them and more. In the matter of devolution and provincial councils, the government can simply defuse the situation by directing the Election Commission to conduct elections at the earliest opportunity that is logistically possible. Making his statement in Jaffna, Mr. Tilvin Silva alluded to funding shortfall and legal complications as reasons for the necessity to postpone PC elections until next year. Neither reason holds water.
The funding question would seem to have been put to rest by the statement of Health Minister and Cabinet Spokesman Nalinda Jayatissa, presumably reflecting cabinet consensus, that there are no funding issues and if needed additional funds could be arranged through supplementary allocations. It is also disingenuous to cite legal complications as a reason. The so called legal complications arose because of the collective stupidity of the Sirisena-Wickremesinghe parliament that included the then miniscule NPP and the politically-lost TNA. The JVP-NPP has now ballooned from a handful MPs to a two-thirds majority and it can expedite any legislation that it wants to enable the PC elections to be held without delays.
Alternatively, the elections can be held under the old arrangement of proportional representation with assurance by political parties to honour their commitment to fielding more female candidates. Already at a gathering of all political parties, including the NPP (but not the JVP), and civil society groups, convened by People’s Action For Free & Fair Elections (PAFFREL), the political parties jointly committed to a 25% quota for women and youth under the old electoral system. The ongoing parliamentary committee exercise studying the legal matter, headed by the overstretched Foreign Minister Vijitha Herath, is also an unnecessary red herring. The Election Commission is ready to go under whatever law or electoral system that is before it. So, there is no reason to hide behind legal complications to further delay the PC elections.
Somewhat amusingly, Public and Parliamentary Affairs Minister Ananda Wijepala has trotted out the argument that the NPP government has already conducted two nationwide elections during the one and a half years it has been in office, and that unlike the Ranil Wickremesinghe government the JVP-NPP is not in the business “to delay elections for our personal benefit” – whatever that means. Unfortunately, the good minister is missing the point. The question is not how many elections can the JVP-NPP hold in how many years, but how many years do people in the provinces have to wait before they vote in another provincial election? How many more years? That really is the question.
We know the current situation in the provinces. There are provincial governments but no elected provincial councils. The government administration in every province is being run by the President of the Republic through his handpicked governors and unelected government officials. This is a travesty of democracy and the euthanizing of the PC system. Already under 13A, the office of the provincial governors has been constitutionally and legally compared to the office of the Governors of old Ceylon who represented the monarch in what was then a crown colony. The irony is that a JVP-NPP President may have inadvertently positioned himself as the monarch of all he provincially surveys, courtesy of the Thirteenth Amendment!
The JVP was in the forefront of the litigation that caused the demerger of the Northern and Eastern Provinces. If Dr. Vigneswaran’s assertion were to prove correct, a potential dissolution of the provincial system under the JVP-NPP government would be the consummation of the JVP’s original opposition to the introduction of the provincial council system itself. The whole system may not be eradicated, but it could be devoured of its democratic essence while preserving the administrative shell as the medium for the country’s president to overreach into the provinces. That would be worse than a daydream, a real nightmare.
by Rajan Philips ✍️
Features
Rewiring Brain: Meditation to Break the Cycle of Craving
“Craving begets sorrow, craving begets fear. For him who is free from craving there is no sorrow; how can there be fear for him,” Dhammapada verse 216 states. The mental factor craving, Tanha in Pali, is central to Buddhist Teaching, as its ultimate goal is the cessation or extinction of it—tanhakkhaya. Even though Tanha is translated as craving here, it can sometimes mislead modern readers into thinking tanha only refers to extreme or physical addictions. Just as with any Pali term, it has broad meanings. Venerable Walpola Rahula describes it as “thirst” or unceasing wanting, one of the deep-rooted proclivities or latent tendencies (anusaya) of life (Rahula 1959), without which life as we know would not exist.
Even though the Buddha recognized this natural phenomenon two and a half millennia ago, it was only in the late 20th century that science took note of it and gave it a captivating term—the Hedonic Treadmill. The advantage of this empirical investigation to us Buddhists is that it provides a way to gain penetrative, experiential comprehension (anubodha) of this concept using the vernacular of this technology-savvy age—an alternative to struggling with the language of a bygone era.
These investigations have revealed that there are no hard-to-comprehend metaphysical or mysterious elements involved with this phenomenon; it is a biochemical process fundamental to sustaining life. What is more, an effort to grasp this concept would be well within the goals of Vipassana meditation described in the Sutta Pitaka, incorporating the four elements of investigation: body (kayanupassana), sensations (vedananupassana), mind (chittanupassana), and natural laws (dhammanupassana).
Vipassana and modern science
Vipassana meditation is an in-depth exploration of how humans perceive the world, gain knowledge, and interact with themselves and the environment. Knowing this with wisdom allows one to lead a harmonious way of life (samadhi), a condition conducive to curbing the “thirst” and achieving the Buddhist ideal. The goal of modern science is also to investigate life, but humanity has often used that knowledge to increase material wealth and comfort, providing only lip service to spirituality on the fringe.
An attitude that tends to ignore the consequences of wanting more and more – thirst, potentially endangering the planet. However, that does not prevent us from using scientific information as and aid or a tool to grasp Buddhist concepts. The scientific method bears parallels to the Buddhist approach: it is based on causality (paticcasamuppada), empirical verification (ehipassiko), systematic observation (meditation), and rejecting dogma and beliefs. The primary difference is simply the vocabulary used.
The process of perception: five aggregates
Our five external sense organs receive data (vedana) containing information on the environment: Eyes: receive light, Ears: receive sound, Skin: senses physical contact and temperature, Nose & Tongue: sense chemical properties of substances. The data received by the sense organs is transmitted to the brain, where it is registered as neural networks (sanna). Neural networks, which are interconnected groups of nerve cells (neurons) can be viewed as mind-readable QR codes.
The activity of the brain, or mind (mano), processes this data and converts them into actionable information (sankhara). Modern neuroscience and psychology have made great advances in understanding these processes at the molecular level. This process allows the individual to become aware of their environment, build an autobiographical memory or the notion of a self (atta), and take actions to protect and perpetuate life.
The Pali term vinnana refers to the collection of information committed to memory. Translating vinnana as “consciousness” can be confusing, as the latter often refers to all brain activities. All physical phenomena that sense organs encounter and the mental constructs (sankhara) are referred to as Rupa. This activity of mind forms the basis of all knowledge, representing the entire world as perceived by the individual. This process is what the Teaching refers to as the Five Aggregates (pancakkhanda). The critical takeaway is that the world we perceive is merely a mental construct. While an objective world exists, our sense organs have limitations in seeing it—a fact easily realized through the hundreds of illusions used for entertainment.
Evolution and emotion
The evolutionary purpose of this data processing mechanism is to enable living beings to respond to environmental factors for survival. The psychological and physiological state that arises prior to acting is called emotion. Primarily, emotions can be of three kinds: desire (loba) – seeing a new phone causes an urge to buy it, even though the current one works fine; aversion (dosha) – encountering a vicious dog triggers a “fight or flight” response; delusion (moha) or illusion – an unanswered message to a loved one triggers worry or speculation. Thus, tanha or thirst represents how we connect to the world in its entirety; it can be desire, aversion, and delusion, not merely simple greed. Consequently, these are natural phenomena beyond our immediate control, which are intended to sustain life. In other words, emotions are the forerunner to volitions or intentions, which the Teaching defines as kamma.
The biochemistry of craving
Emotions result from the interaction between the nervous system and biochemicals known as neurotransmitters and neuromodulators (e.g., dopamine, serotonin, epinephrine, GABA, glutamate, acetylcholine, and endorphins). Just as the Buddha’s simile of two bundles of bamboo supporting each other describes, these two processes are interdependent and co-arising. Every thought or emotional state corresponds to patterns of neural firing. When neurons fire, they release these chemicals into synapses, influencing how one feels and acts. This release perturbs the body’s normal balance, or homeostasis. Once an action is complete, these chemicals are reabsorbed, and the body returns to its baseline.
Return to baseline is essential for survival. For example, if we stay satisfied with just one meal forever, we could not sustain life. Nature has developed another mechanism to prevent us from being satisfied – we also habituate. In the case of dopamine, the brain adapts by reducing the response to the same stimulus. To get the same level of satisfaction with repeated experiences, the amounts of neurotransmitters needed keeps increasing. This leads to the cycle of craving and dissatisfaction—the Hedonic Treadmill. You “run” toward happiness on the treadmill, but it does not take you anywhere, leaving you in the same emotionally unsatisfactory state, wanting more and more.
Breaking the cycle
This explains why achievements and possessions do not bring permanent happiness, and lead to a cycle of struggle, addiction, crime, and other ills of society. For Buddhists, it also explains why we cling to meaningless rituals. The Dhamma captured this complex phenomenon in the Four Noble Truths: pleasant experiences are impermanent (anicca), leading to grasping (tanha) and unsatisfactoriness (dukkha). The remedy is the Eightfold Path that involves wisdom (panna), conduct (sila), and harmony (samadhi).
Neuroplasticity and the point of liberation
While we cannot stop the sense organs from receiving stimulation (vedana) and sending them to brain, the mind can be developed to prevent vedana from leading to tanha. This is the “point of liberation,” the seventh link in the paticcasamuppada formula. We may not have free will, but we have ‘Free Won’t’ or the ability to say no to the natural tendency to act upon stimuli. We can rewire our neural connections to do so. This ability can be cultivated by practice and repetition, and neuroscience refers to it as neuroplasticity—the brain’s ability to change with experience.
The natural tendency of the brain is to strengthen frequently used neural networks while weakening and eliminating lesser used networks and building new ones as needed. This is known as neural plasticity or rewiring the brain. As described in the Eight-fold Path, the way to weaken and eliminate dopamine-driven neural networks includes three aspects. First, the process leading to thirst must be understood. One must engage in sila – activities and thoughts that cultivate Metta: loving-kindness and goodwill, Karuna: compassion, Mudita: appreciative joy, and Upekkha: equanimity, emotional stability, calmness, and evenness of mind in the face of gain and loss, praise and blame, fame and disrepute, pleasure, and pain. That must be done with wisdom, ritualistic behavior does not strengthen the correct neural networks. These activities promote a “cocktail” of oxytocin, serotonin, and GABA, subduing the role of dopamine and helping us step off the Hedonic Treadmill. This leads to a tranquil state of mind and a harmonious existence – samadhi. Again, it is an interdependent, co-arising process that improves upon repetition. Using mind altering substances hijacks this process, thus the need for adhering to the Fifth Precept.
The goal of Vipassana is to understand this process and train the mind to say “no” to tanha. It is not just about sitting on a mat; it requires developing a lifestyle that maintains homeostasis or harmony, samadhi, at every moment. Pali term bhavana means the development of wisdom and insight. In modern vernacular – rewiring brain. This model must be assessed for its efficacy by the individual and realize the benefits by themselves –ehipassiko; knowledge without practice does not work. According to what the Buddha taught, that is the path to cessation or extinction of craving – tanhakkhaya, the supreme goal.
by Geewananda Gunawardana, Ph.D. ✍️
Features
‘Spectrum’ Art Exhibition Showcases Emerging Talent at Lionel Wendt
A new art exhibition, titled Spectrum ,will be held at the Lionel Wendt Art Centre on the 20th and 21st of June 2026, bringing together a collection of works by ten emerging artists.
Athsara Wijegunawardena
Neha Thirumavalavan
Dillai Joseph
Wasantha Siriwardena
Champika Dias
Nipun Dias
Dr. Prasanna Siriwardena
Kalhari Perera
Siromi Samarasinghe
Chandana Illankone
All ten artists have trained under the guidance of renowned Sri Lankan artist Royden Gibbs, and this exhibition marks an important point in their individual journeys.
Spectrum brings together a mix of styles, subjects and approaches, giving visitors a chance to experience a wide range of work in one place. The exhibition will include pieces in watercolors, soft pastels, oils and charcoal, reflecting both the discipline and personal direction of each artist. The work ranges from scenery and portraits to still life and studies of the human form, offering different ways of seeing and interpreting familiar subjects.
- Nipun Dias
- Wasantha Siriwardena
Although they share the same mentor, each artist presents a distinct point of view. The result is a show that feels varied yet connected, with each piece carrying its own character and intent. It is this balance that gives Spectrum its identity.
The exhibition aims to support and highlight emerging talent within Sri Lanka’s art scene, while also creating a space where artists and audiences can connect. Visitors will find work that shifts between quiet observation and more expressive pieces, making it an engaging experience for both seasoned collectors and those simply interested in art.
Spectrum is expected to draw art lovers, collectors, students and members of the wider creative community. It also offers an opportunity to discover and support new artists at an early stage in their careers.
Open to the public over two days, Spectrum invites visitors to experience a range of work in a venue that has long been part of Colombo’s cultural landscape.
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