Midweek Review

The animating presence of folk literature

Published

5 years ago

2021/02/10

By Prof. Wimal Dissanayake

The dialogue between folk literature and classical literature, in many regions of the world, is as complex as it is fascinating. I am a great admirer of the post-modern writings of the distinguished Italian writer Italo Calvino. I have read all his books, creative and critical, translated into English with great interest. I have written critical essays on his works introducing them to the Sinhala reader. The other day as I was re-reading with mounting interest his book Italian Folktales, I was reminded of the urgency of the intersections between folk and elite literatures.

The Italian Folktales is a collection of 200 folk tales prevalent in various regions of Italy. Italo Calvino has rendered them into standard Italian, making adjustments and alterations when and where necessary. It is indeed a re-telling of these stories by Calvino. This book was first published in Italian in 1956 and translated into English in 1962. Since them there have been other English translations of it. In composing this volume, Italo Calvino was influenced by the thinking of the Russian folklorist Vladimir Propp. Clearly, this is a book intended for the general reader in a way that Propp’s Morphology of the Folktale is not.

The folktales gathered in this volume are full of kings, peasants, ogres, as well as strange animals and plants as indeed in most folktales the world over. Many discerning critics have claimed that Italo Calvino did for Italian folktales what Brothers Grimm did for German folktales. This collection of stories was extremely well received outside of Italy as well. The New York Times Book Review said, ‘This collection stands with the finest folktale collections in the world.’ The Times called it ‘a magic book and a classic to boot.’

The impulse of Italian peasants for collective self-representation and the subtle literary sensibility of Italo Calvino meet in these pages with remarkable results infusing the stories with a vibrant and seductive glow. Indeed, what Brothers Grimm did for German folktales, Calvino did for Italian folk tales. These stories are activated by various dualisms such as reality and fantasy, conventionality and originality, simple and complex, local and universal which discerning literary critics with a deconstructive bent of mind would find extremely attractive and will persuade them to harness their analytical impulses in diverse ways seeking to annul the facile dualisms.

The Colombian Nobel laureate Garcia Marquez is an equally talented writer; but he is very different from Calvino as a literary artist. However, he too was deeply attracted to folk art and folk literature. He has often observed that his narrative impulse and skills were stimulated and nurtured by the folktales that his grandmother told him. He was also profoundly stirred by the Colombian folk music form vallenato. It is a popular folk music genre that is highly lyrical and expressive of a vigorous folk imagination. Garcia Marquez was not only enticed by this musical genre, but he also promoted vallenato concerts. His literary sensibility was memorably penetrated by this musical genre. He once remarked that, ‘One Hundred Years of Solitude, his magnum opus, was a 250-page vallenato. As with Calvino, Garcia Marquez too displayed a great partiality for folk art and literature and the distinctive imagination of folk artists.

When discussing the power of folk art and folk literature, another distinguished writer that springs into mind is the Spanish poet and playwright Federico Garcia Lorca. Tragically, this highly talented writer was assassinated at a relatively young age. His work can best be understood as representing the intersection of folk literature and modern literary sensibility. His work the Gypsy Ballads exemplifies this aspect admirably. He deployed the traditional ballad meter with eight-syllable lines and traditional symbols with remarkable ingenuity. He made use of the self-protective symbolism of Spanish folk poetry to escape the nervous intimacies of personal anguish. Lorca was interested in uncovering the hidden contours of Andalusian imagination. A passage of poetry like the following taken from his Ballad of the Moon illustrates this facet of his work convincingly.

How the night heron sings

How it sings in the trees

Moon crosses the sky

With a boy by the hand

At the forge the gypsies

Cry and then scream

The wind watches

The wind watches the moon

Here Garcia Lorca deploys traditional symbols such as night, moon, sky and wind with new and at times Freudian valences. The ballads appear to be simple, but they conceal a sophisticated art.

The visionary Irish poet and playwright and Nobel laureate W.B.Yeats is another brilliant writer whose imagination was profoundly stimulated by folk art and literature. From the beginning he was attracted to folklore, myths, legends, ballads and so on. He once remarked that legends are the mothers of nations. He also said that, ‘all folk literature, and all literature that keeps the folk tradition, delights in unbounded and immortal things.’ Yeats was not, to be sure, enforcing a simple duality between folk literature and elitist literature; he was referencing a much more complex interaction.

Earlier, I referred to the collection of Italian folk tales by Italo Calvino. Similarly, Yeats published in 1888 a collection of folk tales and poems titled Fairy and Folk Tales of the Irish Peasantry. It consists of 65 tales and poems that lead us to the vibrancy of the Irish folk imagination. They introduce us to a fascinating world peopled by kings, witches, ghosts, priests, saints, fairies, demons and peasants. Italo Calvino was interested in uncovering the hidden powers of the Italian folk imagination. Similarly, W.B. Yeats was interested in demonstrating the hidden powers of Irish sensibility. It was his conviction that ‘the very voice of the people, the very pulse of the people’ could be happily recovered through folk literature. Yeats was closely associated the famous Irish Literary Revival and his interest in folk literature constitutes one aspect of it. A well-known literary critic once observed that, ‘Yeats turned to folk sources to give his work the grain of ordinary humanity and the direct appeal of ballads and other traditional forms.’

Coming closer to home, the distinguished Nobel Prize winning writer Rabindranath Tagore also displayed a remarkable interest in folk art, music and literature. Yeats, of course, played a significant role in gaining a reputation for Tagore in the West. His poetry manifests a memorable amalgamation of folk, classical and Western influences. The spatial and temporal structures in his poetic compositions can be usefully understood in terms of folk art and literature. The foundational alphabet of his poems’ codes are traceable to folk roots. He was deeply sensitive to the interesting ways in which the folk imagination left its imprint in the vicissitudes of language. His poetic and lyric texts are marked by a pulse of folk-musicality.

Tagore was undoubtedly one of the greatest Indian writers of the modern age. His myriad talents moved in diverse directions. He earned a wide reputation as a poet, lyricist, novelist, playwright, short story writer, painter, musician, cultural critic and educationist. He was the author of some 60 collections of poetry and a great body of prose writings. He was a gifted musician who composed over ten thousand songs. As a painter, his work was exhibited in New York, Paris, Moscow, Berlin and Birmingham. In all these manifold endeavors one can identify the animating presence of folk art and literature. The rhetorical frameworks guiding his literary creations make audible a dialogue between the folk and elite traditions.

Among the Sri Lankan writers who have assiduously sought out the nurturing presence of folk literature, Gunadasa Amarasekera merits close study. His book of poetry, Amal Biso constitutes a landmark in the evolution of modern Sinhala poetry. In it, he has drawn heavily on the vitality of Sinhala folk poetry. The challenging equation of sense and sound, content and form, logic and syntax, the polyphonic achievements, the musically-patterned complex articulations that one discerns in this poetry book display a deep allegiance to the folk tradition. He combined the power and possibilities of folk poetry with an evolving cotemporary sensibility to produce poetry of a high order.

Let us, for example, consider a poem like Mal Yahanavata Vadinna, which I consider to be one of the finest Sinhala poems of the twentieth century. It recaptures the struggle between carnal love and romantic love drawing on all the available resources of folk poetry – diction, spatial and temporal structures, registers of discourse and rhetorical frameworks. It reconfigures a world fissured by complexity. He annuls easy disjunctions between binarisms of purity and impurity physicality and ideality. As Calvino, Garcia Marquez, Yeats, Garcia Lorca and Tagore had amply demonstrated, to draw on folk literature is not to romanticize it but to make it a vital contemporary presence, poignantly relevant to modern times. Gunadasa Amarasekera, too, has drawn attention to this important fact. It is interesting to observe the ways in which he allows the poem to rediscover the sense of its own textuality. Broadly speaking, a number of other outstanding Sinhala writers have been sensitive to this conjunction of folk and elite literature. In my book Enabling Traditions: Four Sinhala Cultural Intellectuals’ I have drawn attention to this point.

So far, I have discussed how highly gifted and consequential writers from different regions of the world have drawn on the vigor of folk literature to enhance the power and reach of their own work. Another facet of the influence of folk poetry is the diverse ways in which the discourse of the folk tradition has inflected the main tradition of literature. If we take the example of the Sinhala poetic tradition, we can observe how from the beginning the folk tradition has played a pivotal role in shaping the visage of the main tradition. For example, among the Sigiri poems, some of the earliest poetic compositions we have, we see representations and exemplifications of the classical as well as folk traditions.

Most literary historians are inclined to regard the folk tradition and the elite tradition as running along parallel tracks. At a superficial level, one can appreciate the legitimacy of such as approach. However, when we pause to inquire into this topic more deeply we would realize that throughout history there has been a constant and mutually fructifying interaction between the two traditions. Discerning literary critics like Martin Wickremasinghe and Gunadasa Amarasekera have established this fact. If we consider a highly esteemed and popular poem like the Guttila Kavya we would realize how the two traditions fruitfully meet in its pages. Gunadasa Amarasekera in his Sinhala Kavya Sampradaya has drawn attention to this fact. Srinath Ganewatte and I, in our book on Sinhala meter titled Viritha ha Arutha have demonstrated how folk literature has played a determinative role in the growth of Sinhala meters.

As we seek to explore in depth the power and resourcefulness of the folk tradition we need to bear in mind its diverse heuristic possibilities and the need to interpret it from fresh angles.

For example, some products of folk poets lend themselves to a form of subaltern approach. What I seek to highlight by this is the way folk poets foreground their agency, give voice to their predicaments and offer, through their texts, a kind of counter-tradition. Sinhala folk poets have demonstrated the fact that subalterns indeed can speak through their poems of deprivation and loss. This is an attempt to unsettle conventional structures of feeling and upend taken for granted viewpoints. This is indeed a subject area that invites further analysis. It requires elaborate theoretical equipage.

When we begin to unpack the creative and critical possibilities of the folk tradition, we should pay attention to the notion of the performative. Folk poems are nothing if not performative. It is not only in the case of oral poetry but also on the later written poetry, the idea of performance is supreme. Performativity should not be confined to folk poetry alone. All poetry, whether ancient or modern, folk or elite is performative. We do not seem to pay adequate attention to this important fact. By regarding modern poems as a performative events we can open new doors to their many-layered meanings and complex structures.

It has become increasingly clear that the discourse of tradition has to be located within the proper historical and cultural contexts and to focus clear-sightedly on the material forces that contribute to the shaping of tradition. In recent times, critics, like Sena Thoradeniya, have sought to underline this fact. The interplay between the folk and elite literature enables us to map more productively the dynamics of literary tradition. An exploration into the nature and significance of folk literature would permit us to engage in a more focused analysis of the constructedness of literary tradition.

Literary traditions are the outcome of the interaction between language power and nationality. We normally tend to discuss the evolution of literary traditions in linear terms. But it is becoming increasingly clear that we need to adopt a more complex vision which does justice to periods of intense activity and those marked by relative dormancy. Instead of linearity we need to foreground complex re-configurations. Traditions are not innocent of politics in the broader sense of the term. Questions of exclusivity and repressiveness and resistance loom large. We need to reimagine literary traditions as sites of conflict and challenging negotiations where an incessant struggle for meaning and truth takes place. A serious engagement with folk literature as instances of collective self-representations enable us to appreciate the importance of this move. We have been led to believe that literary traditions are transparent and free from the exercising of hidden power. The rhetorical strategies that go to form the discourse of literary traditions, along with the promoted hierarchical truths, have to be patiently mapped.

When we investigate into topics such as literary traditions, literary history and folk literatures our inescapable reference point and the guiding framework become the nation. Our desire to adopt a national framework in the evaluation of tradition is understandable. However, owing to the increasing impact of globalization the inevitability of the concept of nationhood is being challenged. We are asked to come up with a broader frames of intelligibility. The supra-national perspective has several implications. Let us consider a poem like Mal Yahanavata Vadinna by Amarasekera that I alluded to earlier. It is securely located in the folk tradition thematically, structurally and rhetorically. However, readers familiar with the respective writings and visions of Sigmund Freud and D.H. Lawrence would almost certainly find additional layers of meaning in the poem. The need to locate the poem in a larger horizon of meaning becomes apparent. What this highlights is that we need to be aware of both the metaphors of globalism and metonymies of localism. This awareness has a way of mitigating the anxieties of recognition.

On the basis of the preceding discussion, it can plausibly be argued that folk-literature can become a useful point of departure for the deconstruction of literary tradition and literary theory. Traditions are sites of the confluence of language, power and knowledge. This entails choices and preferences which result in exclusions and marginalizations. We have to think about traditions and literary history in new ways in the light of newer theoretical developments in the humanities and the social sciences.

The focus on literary traditions should pave the way to newer explorations of literary history. Literary history is not linear and transparent as is commonly believed, but circulatory and multi-layered. Our focus should be on reconfigurations and parallel assemblages obeying the dictates of Bakhtinian chronotopes (space-time formations). Such an approach will facilitate a more comprehensive view of literary history. An inquiry into folk-literature will expedite this hermeneutic process.

This short article consists of some reflections triggered by my re-reading of Calvino’s Italian Folktales. This re-reading brought to mind the works of Garcia Marquez, Garcia Lorca, Yeats, Tagore and Gunadasa Amarasekera, all of whom in their diverse ways, drew upon the power of folk literary forms. This discussion, I am persuaded, points to the importance of deconstructing literary traditions and literary history and demonstrating their constructed nature and the power plays involved. This article has, inevitably, taken the form of scattered reflections rather than a tightly constructed argument. Given the vast scope of the subject under consideration, and the limited space available, this is only to be expected.

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Midweek Review

Opp. MP’s hasty stand on US air strikes in Nigeria and Sri Lanka’s foreign policy dilemma

Published

3 days ago

2026/01/14

Sahan Weerasooriya

Somaliland's President Abdirahman Abdullahi Mohamed (right), posing for a photograph with Israel's Foreign Minister Gideon Saar, at the Presidential Palace in Hargeisa (Pic released by the Somaliland Presidential Office on 06 January, 2026)

Israel’s recognition of Somaliland on 26 December, 2025, couldn’t have taken place without US approval. The establishment of full diplomatic ties with Somaliland, a breakaway part of Somalia, and Israeli Foreign Minister Gideon Saar’s visit to that country, drew swift criticism from Somalia, as well as others. Among those who had been upset were Türkiye, Saudi Arabia and the African Union.

The US-backed move in Africa didn’t receive public attention as did the raid on Venezuela. But, the Somaliland move is definitely part of the overall US global strategy to overwhelm, undermine and belittle Russia and China.

And on the other hand, the Somaliland move is a direct challenge to Türkiye, a NATO member that maintains a large military presence in Somalia, and to Yemen based Houthis who had disrupted Red Sea shipping, in support of Hamas, in the wake of Israeli retaliation over the 07 October, 2023, raid on the Jewish State, possibly out of sheer desperation of becoming a nonentity. The Israeli-US move in Africa should be examined taking into consideration the continuing onslaught on Gaza and attacks on Lebanon, Iran, Syria, Yemen, and Qatar.

Many an eyebrow was raised over Opposition MP Dr. Kavinda Jayawardana’s solo backing for the recent US air strikes in Nigeria.

The Gampaha District Samagi Jana Balawegaya (SJB) lawmaker handed over a letter to the US Embassy here last week applauding US President Donald Trump’s order to bomb Nigeria on Christmas Day. The letter was addressed to President Trump

( https://island.lk/kavinda-lauds-us-president-trumps-actions-to-protect-christians-in-nigeria/)

The former UNPer who had been in the forefront of a high-profile campaign demanding justice for the 2019 Easter Sunday terror victims, in an obvious solo exercise praised Trump for defending the Nigerian Christian community. The US bombing targeted Islamic State Terrorists (ISIS) operating in that country’s northwest, where Muslims predominate.

The only son of the late UNP Minister Dr. Jayalath Jayawardana, he seemed to have conveniently forgotten that such military actions couldn’t be endorsed under any circumstances. Against the backdrop of Dr. Jayawardana’s commendation for US military action against Nigeria, close on the heels of the murderous 03 January US raid on oil rich Venezuela, perhaps it would be pertinent to seek the response of the Catholic Church in that regard.

President Trump, in a wide-ranging interview with the New York Times, has warned of further strikes in case Christians continued to be killed in the West African nation. International media have disputed President Trump’s claim of only the Christians being targeted.

Both Christians and Muslims – the two main religious groups in the country of more than 230 million people – have been victims of attacks by radical Islamists.

The US and the Nigerian government of President Bola Tinubu reached a consensus on Christmas Day attacks. Nigeria has roughly equal numbers of Christians – predominantly in the south – and Muslims, who are mainly concentrated in the north.

In spite of increasingly volatile global order, the Vatican maintained what can be comfortably described as the defence of the national sovereignty. The Vatican has been critical of the Venezuelan government but is very much unlikely to throw its weight behind US attacks on that country and abduction of its President and the First Lady.

Dr. Jayawardana’s stand on US intervention in Nigeria cannot definitely be the position of the main Opposition party, nor any other political party represented in Parliament here. The National People’s Power (NPP) government refrained from commenting on US attacks on Nigeria, though it opposed US action in Venezuela. Although the US and Nigeria have consensus on Christmas Day attacks and may agree on further attacks, but such interventions are very much unlikely to change the situation on the ground.

SL on US raid

Let me reproduce Sri Lanka’s statement on US attacks on Venezuela, verbatim:

“The Government of Sri Lanka is deeply concerned about the recent developments in Venezuela and is closely monitoring the situation.

Sri Lanka emphasises the need to respect principles of international law and the UN Charter, such as the prohibition of the use of force, non-intervention, peaceful settlement of international disputes and the sovereignty and territorial integrity of states.

Sri Lanka attaches great importance to the safety and well-being of the people of Venezuela and the stability of the region and calls on all parties to prioritize peaceful resolution through de-escalation and dialogue.

At this crucial juncture, it is important that the United Nations and its organs such as the UN Security Council be seized of the matter and work towards a peaceful resolution taking into consideration the safety, well-being and the sovereign rights of the Venezuelan people.”

That statement, dated 05 January, was issued by the Foreign Affairs, Foreign Employment and Tourism Ministry. Almost all political parties, represented in Parliament, except one-time darling of the LTTE, Illankai Thamil Arasu Kadchi (ITAK), condemned the US attacks on Venezuela and threats on Cuba, Colombia and Iran. The US is also targeting China, Russia and even the European Union.

Dr. Jayawardana requested coverage for his visit to the US Embassy here to hand over his letter, hence the publication of his ‘love’ letter to President Trump on page 2 of the 09 January edition of The Island.

There had never been a previous instance of a Sri Lankan lawmaker, or a political party, endorsing unilateral military action taken by the US or any other country. One-time Western Provincial Council member and member of Parliament since 2015, Jayawardana should have known better than to trust President Trump’s position on Nigeria. Perhaps the SJBer felt that an endorsement of US action, allegedly supportive of the Nigerian Catholic community, may facilitate his political agenda. Obviously, the Opposition MP endorsed US military action purely for domestic political advantage. The lawmaker appears to have simply disregarded the growing criticism of US actions in various parts of the world.

The German and French response to US actions, not only in Venezuela, but various other regions, as well, underscore the growing threat posed by President Trump’s agenda.

French President Emmanuel Macron and German leader Frank-Walter Steinmeier have sharply condemned US foreign policy under Donald Trump, declaring, respectively, that Washington was “breaking free from international rules” and the world risked turning into a “robber’s den”.

US threat to annex Greenland at the expense of Denmark, a founding member of the North Atlantic Treaty Organisation (NATO) ,and the grouping itself, has undermined the post WWII world order to such an extent, the developing crisis seems irreversible.

Focus on UAE

Indian Army Chief Gen. Upendra Dwivedi visited the United Arab Emirates on 05 and 06 January. His visit took place amidst rising tension on the Arabian Peninsula, following the Saudi-led military coalition launching air attacks on Yemen based Southern Transitional Council (STC) whose leader Aidarous al-Zubaid was brought to Abu Dhabi.

In the aftermath of the Saudi led strikes on Yemen port, held by the STC, the UAE declared that it would withdraw troops deployed in Yemen. The move, on the part of UAE, seems to be meant to de-escalate the situation, but the clandestine operation, undertaken by that country to rescue a Saudi target, appeared to have caused further deterioration of Saudi-UAE relations. Further deterioration is likely as both parties seek to re-assert control over the developing situation.

From Abu Dhabi, General Dwivedi arrived in Colombo on a two-day visit. Like his predecessors, General Dwivedi visited the Indian Army memorial at Pelawatte, where he paid respects to those who paid the supreme sacrifice during deployment of the Indian Army here – 1987 July to 1990 March. That monument is nothing but a testament to the foolish and flawed Indian policy. Those who portray that particular Indian military mission as their first major peace keeping operation overseas must keep in mind that over half a dozen terrorist groups were sponsored by India.

Just over a year after the end of that mission, one of those groups – the LTTE (Liberation Tigers of Tamil Eelam) -assassinated Congress leader Rajiv Gandhi, the former Premier who sent the military mission here.

India never accepted responsibility for the death and destruction caused by its intervention in Sri Lanka. In fact, the Indian action led to an unprecedented situation when another Sri Lankan terrorist group PLOTE (People’s Liberation Organisation of Tamil Eelam) mounted a raid on the Maldives in early Nov. 1988. Two trawler loads of PLOTE cadres were on a mission to depose Maldivian President Maumoon Abdul Gayoom on a contract given by a disgruntled Maldivian businessman. India intervened swiftly and brought the situation under control. But, the fact that those who had been involved in the sea-borne raid on the Maldives were Indian trained and they left Sri Lanka’s northern province, which was then under Indian Army control, were conveniently ignored.

Except the LTTE, all other major Tamil terrorist groups, including the PLOTE, entered the political mainstream in 1990, and over the years, were represented in Parliament. It would be pertinent to mention that except the EPDP (Eelam People’s Democratic Party) all other Indian trained groups in 2001 formed the Tamil National Alliance (TNA), under the leadership of Illankai Thamil Arasu Kadchi (ITAK), to support the separatist agenda in Parliament. Sri Lanka’s triumph over the LTTE, in May 2009, brought that despicable project to an end.

The Indian Army statement on General Dwivedi’s visit here, posted on X, seemed like a propaganda piece, especially against the backdrop of continuing controversy over the still secret Indo-Lanka Memorandum of Understanding on defence that was entered into in April last year. Within months after the signing of the defence MoU, India acquired controlling stake of the Colombo Dockyard Ltd., a move that has been shrouded in controversy.

Indian High Commissioner Santosh Jha’s response to my colleague Sanath Nanayakkara’s query regarding the strategic dimension of the India–Sri Lanka Defence Cooperation Agreement following the Indian Army Chief’s recent visit, the former was cautious in his response. Jha asserted that there was “nothing beyond what is included” in the provisions of the pact, which was signed by President Anura Kumara Dissanayake and has generated controversy in Sri Lanka due to the absence of public discourse on its contents.

Framing the agreement as a self-contained document focused purely on bilateral defence cooperation, Jha said this reflected India’s official position. By directing attention solely to the text of the agreement, the High Commissioner indicated that there were no unstated strategic calculations involved, aligning with the Sri Lankan Foreign Minister’s recent clarification that the pact was not a military agreement but one that dealt with Indian support.

Nanayakkara had the opportunity to raise the issue at a special media briefing called by Jha at the IHC recently.

Julie Chung departs

The US attack on Venezuela, and the subsequent threats directed at other countries, including some of its longtime allies, should influence our political parties to examine US and Indian stealthy interventions here, leading to the overthrowing of President Gotabaya Rajapaksa, in July 2022.

The US Embassy in Colombo recently announced that Julie Chung, who oversaw the overthrowing of Gotabaya Rajapaksa, would end her near four-year term. Former Indian High Commissioner in Colombo Gopal Baglay, who, too, played a significant role in the regime change project, ended his term in December 2023 and took up position in Canberra as India’s top diplomat there.

Both Chung and Baglay have been accused of egging on the putsch directly by urging Aragalaya time Speaker Mahinda Yapa Abeywardena, on 13 July, 2022, to take over the presidency. Former Minister Wimal Weerawansa and top author Sena Thoradeniya, in their comments on Aragalaya accused Chung of unprecedented intervention, whereas Prof. Sunanada Maddumabanadara found fault with Baglay for the same.

The US Embassy, in a statement dated 07 January, 2026, quoted the outgoing US Ambassador as having said: “I have loved every moment of my time in Sri Lanka. From day one, my focus has been to advance America’s interests—strengthening our security partnerships, expanding trade and investment, and promoting education and democratic values that make both our nations stronger. Together, we’ve built a relationship that delivers results for the American people and supports a free, open, and secure Indo-Pacific.”

The Embassy concluded that statement reiterating the US commitment to its partnership with Sri Lanka and to build on the strong foundation, established during Ambassador Chung’s nearly four-year tenure.

Sri Lanka can expect to increasingly come under both US and Indian pressure over Chinese investments here. It would be interesting to see how the NPP government solves the crisis caused by the moratorium on foreign research vessel visits, imposed in 2024 by the then President Ranil Wickremesinghe. The NPP is yet to reveal its position on that moratorium, over one year after the lapse of the ban on such vessels. Wickremesinghe gave into intense US and Indian pressure in the wake of Chinese ship visits.

In spite of US-India relations under strain due to belligerent US actions, they are likely to adopt a common approach here to undermine Sri Lanka’s relations with China. But, the situation is so dicey, India may be compelled to review its position. The US declaration that a much-anticipated trade deal with India collapsed because Indian Prime Minister Narendra Modi hasn’t heeded President Trump’s demand to call him.

This was revealed by US Commerce Secretary Howard Lutnick in the ‘All-In Podcast’ aired on Thursday, 08 January. The media quoted Indian spokesman Randhir Jaiswal as having said on the following day: “The characterisation of these discussions in the reported remarks is not accurate.” Jaiswal added that India “remains interested in a mutually beneficial trade deal between two complementary economies and looks forward to concluding it.”

Sri Lanka in deepening dilemma

Sri Lanka, struggling to cope up with post-Aragalaya economic, political and social issues, is inundated with foreign policy issues.

The failure on the part of the government and the Opposition to reach consensus on foreign policy challenges/matters has further weakened the country’s position. If those political parties represented in Parliament at least discussed matters of importance at the relevant consultative committee or the sectoral oversight committee, lawmaker Jayawardana wouldn’t have endorsed the US bombing of Nigeria.

Sri Lanka and Nigeria enjoy close diplomatic relations and the SJB MP’s unexpected move must have caused quite a controversy, though the issue at hand didn’t receive public attention. Regardless of the US-Nigerian consensus on the Christmas Day bombing, perhaps it would be unwise on the part of Sri Lanka to support military action at any level for obvious reasons.

Sri Lanka taking a stand on external military interventions of any sort seems comical at a time our war-winning military had been hauled up before the Geneva Human Rights Council for defending the country against the LTTE that had a significant conventional military capacity in addition to being “the most ruthless terrorist organisation” as it was described by the US Federal Bureau of Investigation. The group capitalised on experience gained in fighting the Indian Army during 1987 July-1990 March period and posed quite a threat. Within five months after the resumption of fighting, in June 1990, the LTTE ordered the entire Muslim population to leave the predominantly Tamil northern province.

No foreign power at least bothered to issue a statement condemning the LTTE. MP Jayawardana’s statement supporting US military action in support of Christian community should be examined in Sri Lanka’s difficult battle against terrorism that took a very heavy toll. Perhaps, political parties represented in Parliament, excluding those who still believe in a separatist project, should reexamine their stand on Sri Lanka’s unitary status.

By Shamindra Ferdinando

Midweek Review

Buddhist Iconography

Published

3 days ago

2026/01/14

Sahan Weerasooriya

A Buddha statue from Mathura with a single curl, 2nd cent. CE

Seeing a new kind of head ornament on a recent reproduction of the iconic Avukana Buddha statue, made me ponder how the Enlightened One would have looked in real life, and what relationship that may or may not have with Buddhist iconography. Obviously, there is no record or evidence of any rendering of the Buddha made by an artist who saw him alive, but there are a few references to his appearance in the Pali Sutta Pitaka, that affirms, as he himself has said, Buddha was nothing other than a human being, albeit an extraordinarily intelligent one (Dhammika 2021).

Before enlightenment, Siduhath Gotama was described as having black hair and a beard. One account describes him as “handsome, of fine appearance, pleasant to see, with a good complexion and a beautiful form and countenance” (D.I,114). Venerable Ananda has said, “It is wonderful, truly marvelous how serene is the good Gotama’s presence, how clear and radiant is his complexion. Just as golden jujube fruit in the autumn is clear and radiant … so too is the good Gotama’s complexion” (A.I,181). If Venerable Ananda’s comparison is correct, Gotama must have been of what is called ‘Wheatish’ complexion common in present-day North India, which is described as typically falling between fair and dusky complexions, exhibiting a light brown hue with golden or olive undertones (Fitzpatrick scale Type III to VI).

The Buddha is also described as a slim tall person; slim, perhaps, as a result of practising asceticism before enlightenment and spartan life thereafter. As he aged, he also suffered from back pain and other ailments, according to Sutta Pitaka.

Artists’ imagination

We need not argue that the depictions of the Buddha we see across countries, in various media, are the imaginations of the artists influenced by their local cultures and traditions. The potentially controversial aspect regarding Buddhist iconography is the depiction of his hair, which is almost universal. There are several references in the Sutta Pitaka, where various Brahmin youths derogatorily referred to the Buddha as “bald-pated recluse” (MN 81). There is no reason to believe that he would have been any different from the rest of the Bhikkhus who had and have clean shaven heads. In fact, when King Ajatasattu visited the Buddha for the first time, he had trouble identifying the Buddha from the rest of the sangha, and an attendant had to help the king.

In early Buddhist art, the Buddha was represented by the wheel of dhamma, Bodhi tree, throne, lotus, the footprints, or a parasol. For example, in the carvings of Sanchi temple built in the third century BCE, the Buddha is depicted by some of these symbols, but never in human form. Depiction of the Buddha in human form has started around the first century CE in two places, Gandhara and Mathura. In both places, the Buddha is depicted with hair, and not as a “bald-pated recluse” the way the Sutta Pitaka depicts him.

Figure 1. Bimaran Casket

No scholarly agreeement

So, the question is who started this artistic trend, was it the Gandhara artists under the Greek influence or the Mathura artists following their own traditions? There is no scholarly agreement on this; Western scholars think it was the Greek influence that made presenting the Buddha in human form while Ananda Coomaraswamy presents another theory (Coomaraswamy 1972).

The earliest dateable representation of the Buddha in human form is found on the Bimaran casket found during the exploration of a stupa near Bimaran, Afghanistan in 1834. It has been dated to the first century CE using the coins found along with it, that also depict and refer to the Buddha by name in Greko-Bactrian. This reliquary, a gold cylinder embossed with figures and artwork, is on display at the British Museum (Figure 1). Under the Hellenistic influence, it must have been natural for the Gandhara artists to represent a revered or divine figure in human form; Greeks have been doing it for millennia. The standing Buddha figure is depicted wearing the hair in the form of a knot over the crown. In other carvings from the same period, most male figures are shown with the same hair style. Also, it appears that both Spartan men and women tied their hair in a knot over the crown of the head, known as the “Knidian hairstyle” (Wikipedia). The Gandhara sculpture is famous for the Hellenistic style of realism (Figure 2).

Figure 2. Gandhara statue from 1-2
century CE

Coomaraswamy’s reasoning

Coomaraswamy reasons that the Bhakti movement – the loving devotion of the followers towards the deities, is the reason for the emergence of Buddha figure in Mathura. We cannot say for sure if the Gandhara art induced the Mathura artists to break away from their tradition of aniconic symbolism. What is clear is that they have been influenced by the trend to elevate religious leaders to divinity, to impress the followers and compete or to outdo the practices of other religions. This tradition, which predates the Buddha, has introduced the concept of the thirty-two characteristics or marks of great personalities.

It is this trend that has introduced divine interventions and other mysticisms to Buddhism and culminated in famous poems as Asvagosha’s Buddhacharithaya and exegeses as Lalithavistara a few centuries later and continues to date. Instead of following realism as the Gandhara artists did, Mathura artists have followed this tradition and incorporated the thirty-two characteristics of a great person into their representation of the Buddha figure.

Some of these marks are described as “… there is a protuberance on the head, this is, for the great man, the venerable Gotama, a mark of a great man; the hair bristles, his bristling hair is blue or dark blue, the color of collyrium, turning in curls, turning to the right; the tuft of hair between the eyebrows on his forehead is very white like cotton; he is golden in color, has skin like gold; eyes very blue, like sapphires; under the soles of his feet there are wheels, with a thousand rims and naves, complete in every way…(DN 30, M 91). Thus, the tradition of adding the protuberance referred to as Usnisha to Buddha statues started.

Buddhist traditions in different forms

This practice has been adopted by all Buddhist traditions in different forms. The highly effective outcome of incorporating these great marks into the statuary is that it has created a globally recognisable symbol that is independent of the artist’s skills, cultural affiliation or the medium used. Without such distinct features, we would have difficulty in distinguishing the depictions of the Enlightened One from those of other monks or other religious leaders such as Mahaveera. Nevertheless, in addition to its spiritual aspect, Buddhist iconography has been a flourishing art form, which has allowed human talent and ingenuity to thrive over millennia.

Let us not forget that artistic expression is a fundamental right. Interestingly, the curly hair on the Buddha statues made the early European Indologists to think that the Buddha was an African deity (Allen 2002).

Sri Lankan Buddhist art

Sri Lankan Buddhist art is said to be related to Amaravathi style; all Sri Lankan statues are depicted with curling hair bristles turning to right. The presence and prominence of the usnisha on local statues vary depending on the period. Toluvila statue, prominently displayed at the National Museum, is considered the earliest dateable statue in Sri Lanka. It is dated to 3rd or 4th century CE, has a less prominent usnisha and lacks the elongated ear lobes; it is said to be influenced by the Mathura school.

Since Dambulla temple dates to third century BCE, one wonders if the magnificent reclining statue in Cave 1 could be earlier than the Toluvila statue. There are several bronze statues from Anuradhapura period without usnisha. Towards late Anuradhapura period, usnisha is beginning to be replaced with rudimentary Siraspatha, which represents a flame. This addition evolved over time and became a very prominent feature during the Kandyan period and replaced the traditional usnisha completely (Figure 3).

Figure 3. Kandyan era statue with
Siraspatha

Incomparable workmanship

Then the question is how does the Avukana statue, which belongs to the early Anuradhapura period, have a siraspatha that is not compatible with the style of the period or the incomparable workmanship of the statue itself? I have come across two explanations. According to the Sinhala Encyclopedia, the original siraspatha was destroyed and a cement replacement was installed in recent times, likely in the early 20th century.

The other version is that the statue never had a siraspatha like many other contemporary stone statues. For example, the Susseruwa (Ras Vehera) statue, which is identical in style, and likely a contemporary work, does not have a siraspatha. During the Buddhist revival, a group of devotees from a Southern town felt that the lack of a siraspatha on such a great statue as a major deficiency, and they ceremoniously installed the crude cement ornament seen today.

This raises the question: which is more valuable, preservation and protection of archeological treasures or reconstruction to meet modern expectations and standards? For example, what would have been more impressive, the Mirisavetiya Stupa as it was found before the failed reconstruction attempts, or the current version that is indistinguishable from modern concrete constructs? Even though, one can assume it was done in good faith. What if the Mihintale Kanthaka Chetiya were covered under brick and concrete to convert into a finished product? Would it increase or decrease its archeological value?

Differences between reality and iconography

None of that should matter in following the Buddha Dhamma. In theory. However, when the influence of Buddhist iconography is deeply rooted in devotee’s mind, it is impossible to imagine the Buddha as a normal human being, with or without a clean-shaven head and a brown complexion. The failure to see the difference between reality and iconography or art, poetry, and literature can be detrimental as it could distort the fact that Dhamma is the truth discovered by a human being, and it is accessible to any human, here and now. That is responsible, at least in part, for the introduction of mysticism, myths, and beliefs that are rapidly sidelining of Dhamma.

How often do we think of Enlightened One as a humble mendicant who roamed the Ganges Valley barefoot, in the beating sun, and resting at night on the folded outer robe spread under a tree. Sadly, iconography and other associated myths have driven us too far away from reality and Dhamma.

Up until I was six years old, we lived in a place up in the Balangoda hills that had a kaolin (kirimeti) deposit. The older students in the school used it for various handcrafts, but for the youngsters, it was playdough, even though we had never heard of that term. After witnessing an artist working on a Buddha statue at the local temple, my friend Bandara and I made Buddha statues of all types and sizes. If any of them were to survive for a few thousand years at the site where the schools stood, future archaeologists may wonder if a primitive tribe existed there (of course carbon dating will show otherwise). Like that, looking at some of the thousands of statues that pop up on every street corner, the purpose of which varies, sometimes I wonder if they were made by a civilisation that was yet to finesse the art of sculpture or by kids having access to kirimeti. No wonder birds take liberty to exercise their freedom of expression.

by Geewananda Gunawardana