Features

Colombo’s most popular caricaturist in a bygone era

Published

2 years ago

2024/02/25

by Avishka Mario Senewiratne

With the passing of time, Lorenz did not have the time he would like to dedicate to the arts as before. The demand on his time in other fields such as in law and politics necessitated him to mainly if not totally focus on those aspects. However, his pencil and sketchbook never left his side. When inspiration struck him, out came a fine caricature. It has been over 150 years since his death and most of his once famous caricatures have been lost. A few have been reproduced as plates in some important publications over the last 100 years and preserved for posterity.

Caricatures have always been endearing pieces of art which have commented on sophisticated matters. In the dynasty of Lankan caricature artists such as J. L. K. van Dort, Bevis Bawa, Aubrey Collette, W. R. Wijesoma and Gihan de Chickera, C.A. Lorenz can be safely positioned as the ‘pioneer’.

One of the oldest surviving caricatures by Lorenz is that of the famous Wansapurna Dewage David (alias Gongalegoda Banda), leader of the 1848 Matale rebellion and pretender to the Kandyan throne. Upon being captured by the British, Gongalegoda Banda was brought to the Borella Criminal Gaol. It was here that Lorenz had the chance to see him and be inspired. Curious too. His pen did the rest. The result was a lovely caricature of the National hero. Perhaps the first and only live caricature of Banda.

This illustration was hitherto unknown for nearly 75 years until it was published in 1932 in G.K. Pippet’s A History of the Ceylon Police: Volume 1. Here it is mentioned that the illustration was in the possession of Dr. Andreas Nell, nephew of Lorenz’s wife, Eleanor. This sketch was signed and dated by Lorenz on March 3, 1849. Gongalegoda Banda would pass away later that year from a stomach ailment in Malacca where he was exiled.

When Lorenz and his wife left for England in 1853, he once again found some time on his hands as the voyage from Ceylon to Europe would take at least three months. Onboard the ship, Lorenz spent a lot of time drawing caricatures of the crew and various islands and features the ship sailed by. During the long trip to England, Mrs. Lorenz who was uncomfortable with the movements of the ship, fell ill quite often. Lorenz drew a few caricatures of her in this state captioning them as “cribbed, cabined and confined”.

After their arrival and briefly settling in England, Eleanor Lorenz began to regain her health. Lorenz did more illustrations of her. One was captioned as follows: “Ellen is literally rosy, and after a walk in the Park, comes home as red as a boiled crab, as if one could light one’s pipe at her nose.” (Blaze, p. 3)

Morgan and Lorenz caricatures

Sir Richard Morgan was one of Ceylon’s most beloved lawyers and legislators in the mid-19^th century. A few years senior to Lorenz, he was one of the first to join the Colombo Academy (later Royal College) in its original batch. Lorenz and Morgan, who shared many interests and were on the same wavelength were great friends. In 1856, Morgan, while serving as the Burgher Member of the Legislative Council and Leader of the Unofficial Bar, was made District Judge of Colombo by Governor Sir Henry Ward. By this time, Morgan who had considerable power in the Colony and its affairs was nicknamed “Governor”. Overjoyed by his friend’s appointment to the high rank, Lorenz drafted the following brief note and caricature of himself celebrating Morgan’s appointment:

Hooray ! ! !

My dear Governor,

The language at my command couldn’t do it. But I’ve tried it in a sketch. So, I says Hooray again!

Yours very sincerely,

C. A. Lorenz

11^th July, 1856

Sporting a beard then, upon hearing the news Lorenz leaps with joy. His top hat falls. The rooster crows ‘Hooray’ and the dog joins in the celebration. Sketch by Lorenz himself in 1856.

Caricatures in the Christmas Debates 1860-65

In a lecture on July 6, 1929, at the Dutch Burgher Union, E. H. Van der Wall says the following about Lorenz:

“Lorenz was as gifted with the artist’s pencil as with his pen. During the sittings of the Legislative Council, while pleading at the Bar, and even on the Bench at Chilaw, he often found a few moments for a humorous sketch of passing events. A few words of description or a few strokes with his pencil and the picture was true to life, for Lorenz had the unmistakable artist’s touch.” (Journal of the Dutch Burgher Union, Volume XIX, p. 58)

The debates were initially published in the Ceylon Examiner during 1860 and 1868, with the exception of 1862. Among Lorenz’s many literary pursuits, the Christmas Debates of 1860-65 are widely considered his magnum opus. A true masterpiece, this work printed in 1866 by John Maitland consists of five short reports of Debates and Council Meetings supposed to have taken place on Christmas Eve of each relevant year. Full of humour, wit and facts, the Christmas Debates is an endearing piece of work which was essentially enhanced by Lorenz’s sketches and skilful caricatures.

The then custodian of most Lorenziana, Guy O. Grenier published the Christmas Debates again in 1925 with some additions such as an introduction and blurbs by famous personalities praising them. In both books, the illustrations depicted were hand-pasted photographs of the sketches, possibly taken by W. H. Skeen & Co. in sepia tone and included with a blue circular border.

Personalities pre-eminent in the mid-19^th century of Ceylon and who may be labelled as ‘legends’ such as Sir Richard Morgan, George Wall, Thomas Skinner, Sir Muttu Coomaraswamy, etc. as well as British officials like Governor Sir Charles MacCarthy and C. P. Layard are featured in the Christmas debates. The caricatures of these personalities bear an uncanny resemblance to them. It was known that when Lorenz had little work to do during the sittings of the Council or Committees, he would employ his time by sketching the members. Only those published in the Christmas Debates have survived up to today. In the 1866 preface to the Christmas Debates, Francis Fonseka, the printer of that volume comments as follows:

“The illustrations annexed to the said several Debates shall be deemed and construed to represent the person or persons, whom they are intended to represent, and no other”

This writer has made every effort to trace the identity of the 10 caricatures drawn by Lorenz by comparing them with photographs of certain members of the Legislature at that time. Lorenz did not caption the original sketches in the book. One must read the book through to understand what sort of an individual is depicted in the illustrations. However, without knowing what these personalities looked like in reality, it is hard to identify them. Sir Richard Morgan, who is included in the Christmas Debates as well as other illustrations by Lorenz, commented on this masterpiece of Lorenz as follows:

“When Christmas came around and relatives and friends met to express to each other the glad wishes of the Season, the Christmas Supplement of the Examiner; the Mock Council Debates, the rich songs and the richer jokes with which they abounded and his inimitable pen and ink sketches, the gift he had of hitting off a person at almost the first view and perpetuating his peculiarities and idiosyncrasies, gave us no end of merriment and joy.” (Quoted from Grenier, G.O. (Ed.), (1925), Christmas Debates of the Island of Ceylon, p. i)

We had last week inadvertently dropped a painting illustrating “Charles Amrose Lorenz: an unsung artist of the 19th century by Avishka Mario Senewiratne” which is reproduced here. Much of the writer’s text referred to that illustration appearing above. We apologize for the error.

Caricatures of various figures drawn by Lorenz in the Christmas Debates

Muniandi

In 1869, the Examiner press endeavoured a very enthusiastic project by chartering a magazine called Muniandi.. Lorenz’s old friend and colleague in the legislature, John Capper who had just returned from England was made its editor. This magazine, full of satire, illustrations and humour was in the style of the British Punch Magazine. Though Punch lasted till the 21^st century, Muniandi had only a brief but notable period of existence. Priced one shilling, the ten-page Muniandi was a good way of amusing the government with its satirical outlook on the affairs of that time. By then, Charles Lorenz was facing the travails of the illness that would result in his early death. Therefore, for this reason, as well as his involvement in multiple fields, disallowed Lorenz to be active in Muniandi as much as he would have liked.

Though there are hardly any signatures or initials differentiating the artists of these satirical caricatures, many scholars then and now have widely accepted that J. L. K. Vandort is one of the leading artists. However, if one is familiar with the works of Lorenz, it is more than fair to assume that Charles Lorenz himself was one of the illustrators in Muniandi. Yasmin Gunaratne in her monumental work English Literature in Ceylon confirms the above as follows: “Muniandi… illustrated almost entirely by a talented Burgher artist, J. L. K. Van Dort, although Lorenz contributed in some drawings.” (Gunaratne, Yasmin, (1968), English Literature in Ceylon 1815-1878, Tisara Press)

The illustration depicted below published in Muniandi is assumed to be by C. A. Lorenz.

Some other work

Even though his busy public life took much of his time, on a few occasions Lorenz did not hesitate to use his prowess in composing music. On one occasion as stated by J. R. Toussaint of the Ceylon Civil Service (1956, p. 51), Sir Richard Cayley during his early stage of serving Ceylon, lived in Lorenz’s Elie House in Mutwal, Colombo. Here they both produced a popular song. Cayley wrote the words and Lorenz arranged the music for the pianoforte. Titled The Pipe of Clay, the two of them performed this song when among friends. Accompanied by Lorenz on the piano, Sir Richard Cayley; who would go on to be a Chief Justice of Ceylon, did the singing. The following are the words:

The Pipe of Clay

To Beauty’s charms or wars alarms

Let others tune their lay, Sir,

But as for me my theme shall be

My rare old pipe of clay, Sir,

Though bowls of wine may be divine

To drive dull care away, Sir,

Yet there’s no bowl can ease the soul

As the bowl of a pipe of clay, Sir.

What incense breaths from fleecy wreaths,

Of vapour lightly rising,

As we sit at night with our pipes alight

All care and strife despising.

Though Fortune flees, though Friendship dies,

Though Hope may fade away, Sir,

Yet there’s a friend that’ll last to the end

In the rare old pipe of clay, Sir.

A note on the art of Lorenz

Among the many artists who followed Lorenz in the 19^th century, no one came to prominence or to the brilliance of J. L. K. van Dort. Lorenz invited this fellow student of the Colombo Academy in 1850 to collaborate with him in the Young Ceylon magazine. Van Dort was only 18 years old then. One of the most conspicuous features of the inaugural Young Ceylon magazine was the caricature of The Giant of Matura based on a real-life 6’6 tall man who picked coconuts in Matara.

As the illustration was not signed many readers believed it to be of Lorenz. However, the truth was that it was by van Dort, who though not in his heyday and on the threshold of his fame, had a very similar style to Lorenz. B. R. Blaze comments that Lorenz inspired young van Dort in his early work and that the ‘Lorenz touch’ in van Dort was not ambiguous.

Only a handful of illustrations of Lorenz have survived to date. They are nearly all what was published in Blaze’s Life of Lorenz, the caricatures in Christmas Debates, Muniandi and the Examiner. Dr. Andreas Nell, the nephew of Eleanor Lorenz had a fair collection of Lorenz’s illustrations. However, their fate is not known. Guy O. Grenier who owned a large number of letters, illustrations and memorabilia of Lorenz sold them to the Royal Asiatic Society in the early 1960s.

Some of the contents of that collection remain to date. Unlike the artists who followed in the 20^th century such as Keyt, Daraniyagala, Amarasekere, etc., the art of Lorenz may not win the collector’s interest or value. From the perspective of its historical significance, the art of Lorenz is phenomenal, special and endearing. Intertwined with humour, wisdom and knowledge, his caricatures will surely linger for generations not born.

“He (Lorenz) was an admirable artist…”

– Dr. R. K. de Silva, 1998 in 19^th Century Newspaper Engravings of Ceylon

References

1. Blaze, B.R., (1948), Life of Lorenz, The Associated Newspapers of Sri Lanka Ltd.

2. Toussaint, J.R., (1956), Lorenz and his Times, Dutch Burgher Union

3. Roberts, Colin-Thome, Raheem, (1989), People Inbetween, Sarvodaya

4. Lorenz collection in the Royal Asiatic Society Library

5. Lorenz, C.A., (1866), Christmas Debates,

6. Mahendran, M.S., (1918), A Brief Sketch of the Life of Charles Ambrose Lorenz, American Ceylon Mission Press

7. De Silva, R.K., (1998), 19^th Century Newspaper Engravings of Ceylon, Serendib Publishers

8. Pippet, G.K., (1932), A History of the Ceylon Police, Volume 1

9. Warnapala, K, (2012), ‘Caricaturing Colonial Rule in Sri Lanka: An Analysis of Muniandi, The Ceylon Punch?’, Early Popular Visual Culture, Vol.10, No.3, pp. 227-244

10. Jayawardena, K., (2012), Erasure of the Euro-Asians

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Features

Building a sustainable future for Sri Lanka’s construction industry

Published

1 day ago

2026/05/8

Thilina Walpola

Sri Lanka’s construction industry has long been a central pillar of sustainable development. From roads and bridges to homes, schools, and hospitals, construction shapes the country’s physical landscape and supports economic progress. As the nation continues to rebuild and modernise, the demand for construction materials and infrastructure keeps rising. However, this growth also brings a significant environmental cost. Cement, steel, bricks, aggregates, and timber all require energy, resources, and transportation, contributing to carbon emissions and environmental damage. If Sri Lanka continues with traditional construction practices, the long-term impact on the environment will be severe.

The encouraging news is that Sri Lanka has many opportunities to adopt more sustainable construction practices while still maintaining the highest standards of quality and safety. Sustainable construction does not mean weaker buildings or lower standards. It means using sustainable materials, reducing waste, improving design, and choosing methods that protect the environment. Many countries have already moved in this direction, and Sri Lanka has the potential to follow the same path with solutions that are practical, affordable, and suitable for local conditions.

A promising option

One promising option is the use of Compressed Earth Blocks (CEB), which are different from the concrete blocks commonly used in Sri Lanka for the past 25 years. CEBs are made from soil mixed with a small amount of stabiliser and pressed using machines. Unlike traditional fired clay bricks, CEBs do not require high-temperature kilns, which consume large amounts of firewood or fossil fuels. This makes CEBs a low-carbon alternative with a much smaller environmental footprint. In Sri Lanka, CEBs are already used in eco-resorts, community housing projects, and environmentally focused developments. They offer good strength, durability, and thermal comfort, making them suitable for many types of buildings. By expanding the use of CEBs, Sri Lanka can reduce energy consumption, lower emissions, and promote locally sourced materials.

Recycled aggregates also offer significant potential for sustainable construction. These materials are produced by crushing concrete, demolition waste, and construction debris. In Sri Lanka, recycled aggregates are already used in road construction, particularly for base and sub-base layers. They are suitable for non-structural building work such as pathways, garden paving, drainage layers, landscaping, and backfilling. Using recycled aggregates reduces the need for newly quarried rock and aggregates, decreases landfill waste, and lowers transportation emissions. With proper quality control and standards, recycled aggregates can become a reliable and widely accepted material in the construction industry.

Timber and sustainability

Timber is another important area where sustainability can be improved. In the past, timber for construction was often taken from natural forests, leading to deforestation and loss of biodiversity. Today, this approach is no longer sustainable. Instead, the focus must shift to legally sourced timber from managed plantations. Sri Lanka’s plantation-grown teak, jak, and kubuk can provide high-quality, legally sourced timber for construction while protecting natural forests and supporting rural economies. Using plantation timber ensures that harvesting is controlled, trees are replanted, and the supply chain remains legal and ethical.

Beyond materials, sustainable construction also involves better design and planning. Buildings that are designed to maximise natural ventilation, daylight, and energy efficiency can significantly reduce long-term operating costs. Simple design improvements such as proper orientation, shading devices, roof insulation, and efficient window placement can reduce the need for artificial cooling and lighting. These measures not only lower energy consumption but also improve indoor comfort for occupants. Sri Lanka’s tropical climate offers many opportunities to incorporate passive design strategies that reduce environmental impact without increasing construction costs.

Waste reduction is another key component of sustainable construction. Construction sites often generate large amounts of waste, including concrete, timber offcuts, packaging, and soil. By adopting better site management practices, recycling materials, and planning construction sequences more efficiently, contractors can reduce waste and save money. Proper waste segregation and recycling can also reduce the burden on landfills and minimise environmental pollution.

Promoting sustainable construction

Public projects such as schools, hospitals, and government buildings can play a leading role in promoting sustainable construction. When government projects adopt greener materials and designs, the private sector follows. This creates a positive cycle where environmentally responsible choices become the industry standard. Public sector leadership can also encourage local manufacturers to produce sustainable materials, improve quality standards, and invest in new technologies.

Sri Lanka also carries a proud and remarkable history in construction, with achievements that continue to inspire the world. The engineering brilliance behind Sigiriya, the advanced urban planning of Polonnaruwa, the precision of the Aukana Buddha statue, and the sophisticated water management systems of ancient tanks and reservoirs all demonstrate the deep knowledge our ancestors possessed. These historic accomplishments show that innovation is not new to Sri Lanka; it is part of our identity. As the world moves toward 2050 with increasing sustainability challenges, Sri Lanka can draw strength from this heritage while embracing modern technologies and sustainable practices. With the combined efforts of skilled professionals, industry experts, academic researchers, and strong government support, the country can introduce new systems that improve efficiency, reduce environmental impact, and strengthen resilience. By working together with determination and sharing knowledge across generations, Sri Lanka’s construction industry can build a future that honours its past while leading the way in sustainable development.

Foundation of sustainable development

Sri Lanka’s construction industry has always been a foundation of sustainable development. Today, it also has the chance to take a leading role in sustainability. By choosing sustainable materials, reducing waste, improving design, and supporting responsible sourcing, the country can build a future that is both modern and environmentally responsible. Sustainability is essential for Sri Lanka’s long-term goals of reducing carbon emissions and limiting the impacts of global warming. As Sri Lanka moves forward, the construction industry must embrace sustainability not only as an environmental responsibility but also as an opportunity to create stronger, smarter, and more resilient buildings for future generations. Sri Lanka has the talent, the heritage, and the technical capacity to shape a more sustainable future, and with the right national direction, the construction industry can become a model for the region. If professionals, policymakers, and communities work together with a shared vision, the country can transform its construction sector into one that protects the environment while supporting long-term progress.

About the Author: P.G.R.A.C. Gamlath Menike,

BSc (Hons) Quantity Surveying (University of Reading, UK), MSc Quantity Surveying (University College of Estate Management, UK), MCIArb, Doctoral Student, Department of Building and Real Estate, The Hong Kong Polytechnic University, Hong Kong, is a Senior Quantity Surveyor: Last Project (2022 -2025) Hong Kong International Airport Terminal 2 Construction Project, Gammon Engineering Construction (Main Contractor).

By P.G. R. A. C. Gamlath Menike

Features

Palm leaf manuscripts of Sri Lanka – 1

Published

1 day ago

2026/05/8

Thilina Walpola

Palm leaf manuscripts

Palm leaf manuscripts have been in existence in Sri Lanka since ancient times. The two oldest palm-leaf manuscripts found in Sri Lanka today are the Cullavagga Pâli manuscript of the H. C. P. Bell collection, which is held at the Library of the National Museum, Colombo, and the Mahavagga Pâli manuscript in the University of Kelaniya collection. Photocopies of both are available at the Library of the University of Peradeniya. Both are dated to 13 century. Cullavagga manuscript has wooden covers richly decorated in lac with a design of flowers and foliage.

Karmmavibhâga

However, the oldest known Sinhala palm leaf manuscript in the world is the Karmmavibhâga which was found in a Tibet monastery in 1936 by the Indian scholar Rahul Sankrityayan. Rahul Sankrityayan, (1893–1963) former Kedarnath Pandey, was an Indian polymath, who searched out rare Buddhist manuscripts on his travels abroad. Sankrityayan visited Sri Lanka as well. Vidyalankara Pirivena is mentioned.

Sankrityayan visited Tibet several times to collect manuscripts from the Buddhist monasteries there. In May 1936 on his second visit to Tibet, Sankrityayan visited the Sa-skya monastery. The Chag-pe-lha-khang Library in this monastery was specially opened for Sankrityayan.

He stated in his autobiography that when the clouds of dust which greeted this rare opening of its doors had subsided, they beheld rows of open racks where volume on volume of manuscripts were kept. “After rummaging around, I came across palm-leaf manuscripts. They were not wrapped in cloth, but were tied between two wooden planks with holes through them.” Sankrityayan found several important manuscripts he had been looking for, in that collection.

Sankrityayan catalogued fifty-seven manuscripts bound in thirty-eight volumes. The thirty-seventh volume was written in the Sinhala script. Sankrityayan records that this volume contained ninety-seven palm- leaves each of which measured 18 1/4 by 1 1/4 in. (46 x 3 cm.) and that there were seven lines of writing on each folio.

According to Sankrityayan, these Sinhala texts originally belonged to a Sri Lankan monk called Anantaśrî who had come to Tibet in the time of ŚSrî Kîrttidhvaja (Kirti Sri Rajasinha). Analysts noted that Sankrityayan does not give the source of this information and the manuscript makes no mention of Anantaśrî.

Sankrityayan had taken with him to Tibet, one Abeyasinghe, (Abhayasimha) to help him with copying manuscripts. They made hand-copies of the important manuscripts. Abhayasimha had copied about 250 to 350 strophes each day. But he fell ill due to the extreme cold and was sent home in June. Abeyasinghe had written letters home during his stay in Tibet.

Photographs of the manuscripts found during Sankrityayan’s expeditions in Tibet are preserved at the National Archives in Colombo. There is also a copy in Vidyalankara pirivena library The Historical Manuscripts Commission In its 1960/1961 report, drew attention to this manuscript, known as Sa-skya Codex, describing it as “a unique document.” (Annual Report of the Government Archivist 1960/61, 1963)

Sinhala scholar P.E.E. Fernando examined photographs of the Sa-skya Codex at the request of the Historical Manuscripts Commission and assigned it to the 13th century. The Historical Manuscripts Commission, dated it to either twelfth or the thirteenth century.

The Historical Manuscripts Commission observed that this manuscript was of great value for the study of the development of the Sinhala script. Ven. Meda Uyangoda Vimalakîrtti and Nähinne Sominda in their edition of the Karmmavibhâga published in 1961 agreed that the Sa-skya Codex represented an early stage in the evolution of the Sinhala language.

Mahavamsa

The Mahavamsa is considered a unique historical document. There is nothing like it in South Asia, and probably all Asia, with the exception of China. Mahavamsa provides a historical account of events, with emphasis on chronology and dating. This, it appears, was rare at the time.

However, Mahavamsa is not a political history, though that is the popular perception of it. It is a religious history. It was written to record the introduction and entrenchment of Buddhism in the country. Other Buddhist countries, such as Cambodia, Burma and Thailand value the Mahavamsa for this reason. They held copies of the Mahavamsa and used events from it in their temple frescoes.

But Mahavamsa is also an important reference source for reconstructing the political history of Sri Lanka. Political and social facts are included in the Mahavamsa narrative when describing religious events, and this makes the Mahavamsa important for historians. This tradition of history writing, beginning with the earlier Sihala Attakatha and Dipawamsa, it is suggested, started in Sri Lanka in 2^nd or 3^rd BC.

Today, the Mahavamsa has become a major source of historical information, not only for dating kings, temples and reservoirs, but also for reconstructing ancient Sinhala society. The fact that Kuveni was seated beside a pond, spinning thread has been used to indicate that there was water management and textiles long before Vijaya arrived. Dutugemunu (161-137 BC) paid a salary to the workers building the Maha Thupa. This shows that money was used at the time.

Copies of the Mahavamsa have been treasured and looked after in Sri Lanka for centuries. They have been copied over and over again. The manuscripts were held in temple libraries because the subject of the Mahavamsa was the entrenchment of Buddhism in Sri Lanka.

The Mahavamsa manuscripts did not pop up suddenly during British rule as people seem to think. The British did not ‘discover’ the Mahavamsa. It was there. When the British administration started to take interest in the history of the island, the sangha would have directed them to the Mahavamsa, in the same way that they directed HCP Bell to the ruins in Anuradhapura and the Sigiriya frescoes. HCP Bell did not discover those either.

The British administrators saw the value of the Mahavamsa and copies were sent to libraries abroad. The Bodleian library, Oxford has a well preserved Mahavamsa manuscript, taken from Mulkirigala, which Turner used for his translation. Cambridge has two Mahavamsa manuscripts. The two copies at India Office library, and the copy in East India Library are probably in the British Library today. The Royal Library, Copenhagen, has a copy, consisting of 129 sheets, 12 lines to a leaf, written in good handwriting.

In Sri Lanka there are several copies of the Mahavamsa in the Colombo Museum Library. One copy, known as the ‘Cambodian Mahavamsa ‘is in Cambodian script. University of Peradeniya has at least three copies.

It is interesting to note that the Mahavamsa was known to the Sinhala elite and some had copies in their private libraries. The Historical Manuscripts Commission of the 1930s said in its first report that five copies of the Mahavamsa and a 19^th century copy of the Dipawamsa were found in private collections.

The temple libraries had many copies of the Mahavamsa. Some were of very high quality. Wilhelm Geiger had looked at the copies held at Mahamanthinda Pirivena, Matara and Mulkirigala vihara. Asgiriya, Nagolla Vihara and Watagedera Sudarmarama Potgul vihara, Matara, are three of the many libraries that held copies of the Mahavamsa.

Sirancee Gunawardene examined the copy at Mahamanthinda Pirivena, Matara, very closely. She says that it is a very old manuscript. According to its colophon, the manuscript was first copied 400 years ago. It is in a very good state of preservation. It has 232 folios. Each 50 cm long 6.25 wide. Nine lines on each side, in Pali metric verse.

The writer of the manuscripts said that his version was an improvement on the copy. He wrote, “I will recite the Mahavamsa which was compiled by ancient sages. [their version] was too long and had many repetitions. This version is free from such faults, easy to understand and remember. It is handed down from tradition, for arousing serene joy and emotion’ .

The Mahamanthinda manuscript records the continuous history of 23 dynasties from 543 BC to 1758 AD. It refers to the principle of hereditary monarchy as 39 eldest sons of reigning monarch succeeded their fathers to the throne. It highlights the fact that fifteen reigned only for one year, 34 for less than four years, 22 kings were murdered by their successors, 6 were killed during battles, 4 committed suicide, 11 were dethroned.

Mahawansa as a World Heritage document

An ola manuscript of the Mahavamsa, held in the Main Library of the University of Peradeniya has been recognised by UNESCO as a part of World Heritage. UNESCO announced In 2023 that it has included the Mahavamsa as one of the 64 items of documentary heritage inscribed in the UNESCO’s Memory of the World International Register for 2023. The manuscript is dated to the early 19 century.

The certificate declaring the Mahawansa as a world heritage document was handed to the Chancellor of Peradeniya University by UNESCO Director General, who visited the University in 2024 specially to do so. She also unveiled a plaque marking the declaration.

The story began much earlier. The National Library of Sri Lanka and the Ministry of Buddha Sasana had jointly appointed a 6-member committee headed by Prof Malani Endagamage, to find the best preserved copy of the Mahavamsa in Sri Lanka. This would have been in 2000 or so. For two years, this team had examined copies from over 100 temples nationwide.

Temples around the country yielded copies, crumbling to well-preserved, reported Sunday Times. There was one from the Ridi Vihara that almost made the cut, but four other copies were shortlisted. One from the Dalada Maligawa, Kandy and three manuscripts from the Main Library of the University of Peradeniya. Three academics from the University’s History Department, Professors K.M. Rohitha Dasanayaka, Mahinda Somathilake and U.S.Y. Sahan Mahesh examined the three Peradeniya manuscripts

Dasanayaka said, “We poured over the copies together, and it became clear that one copy stood out. While the other two had numerous inconsistencies, this one, written in a curvy hand, was neat and beautiful. After more than two centuries, the manuscript was still very attractive, with a ‘flaming cinnamon orange’ cover and elegant lettering.

The first section of the manuscript ends with Mahasen (274–301 AD), written by the monk Mahanama. The second part ends at 1815. The author is given as Ven. Thibbotuwawe Buddharakkhita but he was dead by 1815. The final part was probably done by an acolyte. He has done a very neat job, seamlessly adding his bit, concluded Dasanayake.

This manuscript was acquired by the Library of University of Peradeniya when K. D. Somadasa, was the Librarian (1964 – 1970). It is held in the Main Library and its Accession Number is 277587.

National Library & Documentation Services Board of Sri Lanka, which administers the National Library of Sri Lanka submitted a nomination to UNESCO on behalf of this manuscript. UNESCO responded positively to the application.

UNESCO said the Mahavamsa was recognized as one of the world’s longest unbroken historical accounts, presenting Sri Lanka’s history in a chronological order from the 6th century BCE. The authenticity of the facts provided in the document has been confirmed through archaeological research conducted in Sri Lanka and India.

It is an important historical source in South Asia, said UNESCO. It was the first of its kind in South Asia, initiating a mature historiographical tradition. It has contributed singularly to the identity of Emperor Asoka in Indian history. The existence of a number of manuscripts of the Mahavamsa in several countries as well as the transliteration and translation of the text to several Southeast Asian and European languages stand testimony to its immense historical, cultural, literal, linguistic and scholarly values, .” UNESCO press release said.

Further, UNESCO found that this manuscript was correctly conserved at the University Library. The university and its library maintained high standards in safeguarding the palm-leaf manuscripts, preventing deterioration, declared UNESCO. (Continued)

REFERENCES

https://archives1.dailynews.lk/2021/02/25/local/242520/ola-leaf-mahavamsa-be-declared-world-heritage

Sirancee Gunawardana Palm leaf manuscripts of Sri Lanka . 1977 p 41,44-47 , 253 290 292, ,

N. E. I. Wijerathne Methods, Techniques and Challenges in Deciphering the Sa-skaya Codex. Vidyodaya Journal of Humanities and Social Sciences (2025), Vol. 10 (01) https://journals.sjp.ac.lk/index.php/vjhss/article/view/8571/6001

First report of the Historical Manuscripts Commision.1933 SP 9 of 1933. p . 53, 95, 96

https://journals.sjp.ac.lk/index.php/vjhss/article/view/8571/6001https://www.austriaca.at/0xc1aa5572%200x00314cc3.pdf

https://leftword.com/creator/rahul-sankrityayan/

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https://www.sundaytimes.lk/230910/plus/in-search-of-the-perfect-mahavamsa-531513.html

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by KAMALIKA PIERIS

Features

A new Sherlock Holmes novel

Published

1 day ago

2026/05/8

Thilina Walpola

Tales of Mystery and Suspense – 1

“The House of Silk” is set in a grim Victorian winter, and moves from Baker Street to a luxurious suburban villa, from dingy pubs to elegant London clubs, from a correction school for boys high on a hill to Dr Silkin’s House of Wonders, which provided noisy low life entertainment. Holmes and Watson went there in search of the House of Silk, a name they had heard when looking into the death of one of Holmes’ Baker Street irregulars (slum children who ferreted out information for him) .

I do not think highly of sequels to books written by highly regarded writers, though I must admit that this dislike is based on just a few samples. But while in England I was given by my former Dean, with a forceful recommendation, a book about a Sherlock Holmes mystery, supposedly written by Dr Watson. I began on it soon after I got back home, and found it difficult to put down, so I suppose I will not look on Anthony Horowitz as an exception to my rule. I may even look out for his efforts at continuing the adventures of James Bond, though I suspect Fleming’s laconic style will be less easy to emulate.

“The House of Silk” is set in a grim Victorian winter, and moves from Baker Street to a luxurious suburban villa, from dingy pubs to elegant London clubs, from a correction school for boys high on a hill to Dr Silkin’s House of Wonders, which provided noisy low life entertainment. Holmes and Watson went there in search of the House of Silk, a name they had heard when looking into the death of one of Holmes’ Baker Street irregulars (slum children who ferreted out information for him). They had asked Holmes’ brother Mycroft for help in finding what and where this was, but he had warned them off, having been himself told by someone very senior in government that it might involve those in very high positions, and further inquiries might prove dangerous.

Needless to say, Holmes does seek further, and is lured to an opium den where he is drugged, to be found outside with a gun in his hand and the body of a girl beside him, the sister of the murdered boy Ross. A passer-by swears he had seen Holmes fire the shot, and the owner of the opium den and a customer swear that Holmes had taken too much opium and left the den in a demented condition. A police inspector who had been passing promptly arrests Holmes and Watson, and even their old acquaintance Inspector Lestrade finds it difficult to get access to him.

Watson eventually gets to see him when he is in the infirmary, after he has been told by a mysterious man that Holmes was going to be murdered before his case could be taken up. The man said he had earlier tried to get Holmes to investigate the House of Silk by sending him a white silk ribbon, such as had later been found tied round the hand of the murdered boy. But, as a criminal himself, he said, he could not reveal more, though he himself was horrified by the business of the House of Silk, which gave criminality a bad name, which is why he wanted it all stopped.

Holmes escapes from the infirmary, with a little help from the doctor whom he had once assisted earlier, right under the nose of the nasty Inspector Harriman. He then joins up with Watson, and having with the help of Lestrade overcome the men designed to kill him at Dr Silkin’s House of Wonders, he sets off, with an even large posse of policemen, to the House of Silk.

After much suspense, the habitues of the House of Silk are arrested, the Inspector having broken his neck in the course of a chase downhill, having fled when his misdeeds were exposed. The mastermind claims that he will not face a trial because of the important people involved, but instead falls down a staircase while in prison and breaks his neck. One of the noblemen involved commits suicide, but another, and the medical man who had sworn he saw Holmes kill the young lady, get off without charge.

But then we revert to the original story, which had involved an art dealer who came to Holmes because he was being followed by someone he thought was an American gangster out for revenge. This was because he had shipped some pictures to an American buyer, and these had been destroyed when a train was held up by an Irish gang and the coach with the safe in it dynamited. The buyer and the dealer had got a private agency to investigate, and this had ended with the gang being killed in a shootout, though one of the twins who led it had escaped. The buyer had subsequently been killed, and Mr Carstairs feared that the twin who survived had followed him to England.

Holmes and Watson went to Carstairs’ house, where they met his wife, whom he had met on the boat back from America, and his sister. Their mother had died some months earlier, when gas had filled her room after the flame had gone out. It transpired that there had been a break in, and some money and a necklace stolen from a safe, and it was in tracing these, through a pawnbroker, that Holmes and Watson had found the American murdered in the hotel where he had been staying.

The leader of the irregulars had come to tell Holmes that they had traced the man to the hotel, and Ross had been left on guard. He seemed terrified when Holmes and Watson and Carstairs turned up, but said he had seen nothing. When the boys had been dismissed, and the room opened up, the man was found dead, the murderer obviously having gained entrance through a window.

Holmes assumed the boy had seen someone he recognized, but he could not be traced, until he was found dead, horribly tortured. The silk band around his wrist then led Holmes to pursue the House of Silk. One of the boys at the school where Ross had been mentioned that he had a sister at a pub, and she, when confronted, asked in fear if they were from the House of Silk and then, having lunged at Watson with a knife, ran off – herself only to be found dead outside the opium den, which prompted the arrest of Holmes.

After the drama at the House of Silk, Holmes and Watson go to the Carstairs household, where he explains exactly what had taken place, identifying the murdered man as not a member of the gang but the head of the private agency which had investigated them. As my Dean told me, Horowitz then ties up all the loose ends with consummate skill, connecting with a fine thread all the malefactors, of various kinds.