Features

The genius of we lost Karunaratna Abeysekara, forever 40 years ago

Published

3 years ago

2023/04/30

By Dr Upul Wijayawardhana

Forty years ago, on 20th April 1983, we lost for ever the genius of the Sinhala wordsmith extraordinaire, whose life was cut short suddenly and prematurely at age of only 52 years. It is said that those with creativity, like him, reach their maximum potential in their fifties but, sadly, it was not to be although the legacy he left behind makes us feel as if he lived a century!

Considering his prodigious productivity in a span lasting less than four decades, it is hard even to imagine what he would have achieved had he lived at least a decade more, as he requested. Interestingly, in a moving poem printed in Kalpana in October 1982 six months before his death giving the impression that he had a premonition, titled ‘Ayachanayak’ (Request), he makes an appeal to the ‘Life-giver’ for an extension of 10 years, so that he may see his son grow up and can contribute to Sinhala literature in many ways, writing for the unity of the nation. It is not without humour either, as he states that all he wants is the extension and does not care even if it makes him look aged!

He is a wordsmith extraordinaire indeed, as he excelled in both the written and the spoken word; a rare achievement. He showed his talents in the written word by being among the great poets of the ‘Colombo Era,’ a sought-after scriptwriter for Sinhala cinema and, most importantly, a lyricist of lasting influence; perhaps, the greatest we ever had. He demonstrated his prowess of the spoken word as a newsreader, a presenter of programmes and concerts but he is best remembered for his unforgettable commentaries, the way he moved the entire nation to tears at SWRD’s funeral becoming part of broadcasting legend.

He was born in Ratmale, a little village south of Matara on June 3, 1930, the eldest of 10 children of Podiappuhami and Premawathi Abeysekara. The family moved to Colombo where his father started a small business but they moved back temporarily to their village during World War II which gave Karu the opportunity to study Sinhala, Pali, and Sanskrit under Venerable Ananda of Galkanda Vihara, which laid the foundation for the mastery with words.

On return to Colombo, he entered Nalanda College where his teacher was the poet U A S Perera, better known as “Siriayya” who conducted “Lama Pitiya” in Radio Ceylon, which was a life-changing event. This drew him to broadcasting, taking part in “Lama Pitiya” from the age of 12. He continued to study oriental languages under Venerable Dehigaspe Pannasara of Vidyodaya Pirivena whilst continuing his studies in English at Nalanda.

Karunaratna Abeysekara became a pioneer in many fields having faced the most crucial decision of his life in 1950, when he had to choose between admission to Peradeniya University, for a degree, or join Radio Ceylon as a relief announcer, earning seven rupees a day. He opted for the latter as he felt that was the only way he could support his younger siblings, his father’s business being not lucrative. This move not only allowed him to support his siblings admirably but also build a very successful broadcasting career.

He was a brilliant newsreader but outshone all others as a commentator. In the era before television, we were at the mercy of commentators to visualise any important event. Whereas others described what was happening, he painted the picture in our minds with his unmatched eloquence. I still remember listening to his commentary when Queen Elizabeth visited us in 1954 and painting the picture of the procession in my mind.

What has often been overlooked is the fact that it was Karunaratna Abeysekara who pioneered cricket commentary in Sinhala, the very first being a report on the Anada-Nalanda Big-match he gave on Saraswathi Mandapaya. He quickly switched to live commentary and is credited with coining many Sinhala cricket terms which are in current usage. No doubt the enthusiasm for and the popularity of cricket, the ‘coloniser’s game,’ in the villages is in no mean measure due to the commentaries in Sinhala which he pioneered in his inimitable style which enabled the listeners to visualize the game long before the advent of television.

Invariably, due to the inspiration from Siriayya, he was drawn to children’s programmes and Saraswathi Mandapaya, he hosted on Sunday evenings, became the star of children’s programmes and to me and my generation he became our beloved Karuayya. I had the fortune of participating regularly and helping Karuayya from 1957 to 1964, being introduced to him by his brother Daya and my good friend Buddhadasa Bodhinayaka. We would help by sorting out letters, writing features and reading scripts live etc. which gave us the grounding in broadcasting.

Karuayya

arrived about half an hour before the programme goes live on-air and penned a couple of songs, which were set to music by Master D D Denny to be sung by the children who became the leading musicians later. Saraswathi Mandapaya was the incubator for a generation of not only budding singers but also lyricists and script writers, far too many to mention by name. Just one example: Nanda Malini’s famous song “Budusadu, Budusadu, Sandun gasak wennam” written by Asoka Colombage with music by D D Danny, she sang first in Saraswathi Mandapaya.

He is rightly credited as the creator of the genre of Sinhala children’s songs and his compositions like Sarungale, Lenage pitameda iri tuna ende kauda mage amme, Dan nivadukale hinda ne iskole, Mamai Raja kale vihilu keru Andare, Surathal ape denila vana mal kele pipeela are perineal favourites. Some of his children’s songs have become so popular, adult singers have recoded them subsequently.

On retiring from the National Service, he joined the Commercial Service of Radio Ceylon where he revolutionised advertising by coining catchy slogans and introducing memorable jingles which are played even today. He was ethical to the core, ensuring that products he advertised stood to scrutiny, often visiting the manufacturers to make sure. This, unfortunately, is a practice unknown today, with celebrities selling their souls for cash, endorsing any product.

He was in great demand to present concerts and, in fact, many attended to see Karuayya as much as for the concert itself. When he commenced the proceedings, immaculately dressed with hair combed with Brylcream and a wide smile below the thin moustache, crowds roared with applause as he raised his hands and said “Ayubowan” His introductions were crisp and concise, describing a lot in a few words.

Of course, he is best remembered as a lyricist though he did not get universal acclaim. Some critics took objection to his style whilst others attempted to belittle him by saying he writes lyrics for Hindi tunes, disregarding the fact that often lyricists write words to a tune created by a musician and that doing this is more difficult than writing free lyrics. He had the remarkable ability to pen a song in a few minutes and the complimentary remarks, referring to this, made by Dharmadasa Walpola and Milton Perera in interviews, that he often wrote songs for them by the side of his car, on a piece of paper kept on the bonnet, were used by critics to belittle him. He disregarded them by saying: “I write my songs not for critical acclaim but for the sole purpose of the enjoyment of listeners, without them having to turn the pages of a dictionary!” Paradoxically now, 40 years after his death, critics are falling over each other to praise his lyrical style; simple though beautiful and musical words, arranged rhythmically to subtly convey, meanings often very deep, which brought about a sea change in Sinhala music for the masses!

He coined many new words and phrases but his genius was in the ability to transform even harsh words to be musical as illustrated by the Jothipala song “Sal Sapu Na Kumudu Saman Nilmahanel mal athare, Kidaram male pava suwanda digahere”. Leaving aside the simple but philosophical message conveyed later in the lyrics of this haunting song, the genius is in the introduction so beautifully to the lyric of Kidaram mala, the flower of the Stink Lily! The songs he penned still dominating the airwaves, despite the vast changes in the broadcast media since his death, stands testimony to his philosophy. The young, who have no idea whose compositions they are, join the old in singing his songs, made immortal by the vast number of talented Sinhala singers, most of whom he nurtured.

In my humble opinion, Karunaratna Abeysekara is the best lyricists Sri Lanka has ever had as his versatility is beyond compare. Even doubters would agree that his versatility remains unchallenged as he had the capability to suit the lyric to the singer’s style and even to suit the actor, for film songs. His lyrics could be anything from children to classical, funny to provocative but he was at his best when it came to romance, probably because of his own turbulent love affair with Raniakka before marriage. Erani Herath, like many millions in the country, had fallen in love with his voice initially which later blossomed into a romance, objected to by her elders who kept her a virtual prisoner. Her mother prevented her from listening to the radio first and then kept newspapers away from her, when she realized that he was communicating through poems in newspapers! One day, Tilakasiri Fernado has been waiting in studio 10 of Radio Ceylon for Karuayya as he was one song short for his programme the same evening. When the plight was explained, Karuayya vented the pent-up feelings by writing immediately ‘Enna mada nale, gos pawasanna duka mage; Yannata heki obata pamani sirageyata ege’ which has become a classic, wherein he requests the wind to convey his sadness and love to her as it is only the wind that can reach her prison uniterrupted!

In turn, Karuayya extended a helping hand to others in romantic difficulties too. When there were problems with Sanath Nadasiri’s romance with Malkanthi Pieris, he wrote the beautiful song “Ma hada asapuwa, kusumin sarasuwa, e Malbara dethai” Malbara hinting at Malkanthi! When Milton Perera had difficulty in expressing his love to Kalyani and appealed to Karuayya, he obliged with “Kalyaniye oba nasu kathawak kiyannam” with Milton declaring his love over the airwaves and thousands of lovers using it since to overcome their difficulties of romantic expression!

When Dileepa was born, after a gap of ten years, Karuayya was overjoyed and had been lying down on a mat between the two beds occupied by his wife and mother, when he got the sudden urge to pen a song. He got up and wrote “Dileepa podi puthu, saneepayata nidi, Mawage ukul yahane” which was printed in Silumina. Seeing this Clarence Wijewardene has approached Karuayya and had said he will pay anything for the song! In an interview Karuayya mentioned that this and “Enna mada nale” are his favourite songs. Shortly before his death, Karuayya had been listening to a radio programme where they had discussed “Enna mada nale” and Raniakka mentioned in an interview that Karuayya was very pleased and had commented “It is a haunting song.” It is a small mercy that he could listen to his favourite as the last.

No one knows how many songs Karunaratna Abeysekara wrote in his short but fruitful lifetime as he wrote songs for many including my wife, Primrose and even he did not keep a count. The figure of 2000 often quoted is a gross underestimate and may refer only to film songs as he wrote lyrics for over 300 films. Though he was paid for film songs, he never charged a cent from the multitude of artistes he wrote songs for. Almost every artiste of that era had the career launch or their breakout with a song penned by Karunaratna Abeysekara. He must have written thousands for radio musical programmes, Saraswathi Mandapaya and for recordings by artists which remain uncounted. Before the introduction of television, more than half the songs in SLBC library had been written by him.

Though the first song he composed for a film was “Kataragame Devige bime, Ruhunu janapade” screening of Sirisena Wimalaweera’s film Asoka was delayed, Varada Kageda being released ahead, two songs of which remain popular to this day: “Dalula prema gase” and “Piyalee kedila wetuna nebul Saman male” both sung by Mohideen Baig. It is said that seven other lyricists failed to satisfy Nimal Mendis for his composition for the film Kalu Diya Dahara but Karuayya succeeded with “Master Sir“

Some critics consider his best lyrics for a film are in Kurulu Bedda, with music by R Muthusamy and sterling performances by Punya Heendeniya and D R Nanayakkara, which include “Aruna Udaye” the first film song of Milton Perera, “Oya belma, oya kelma, nilupul nethe” by Lata and Dharmadasa Walpola. However, my personal choice is Daskama, the only film Edwin Samaradiwakara provided music for. “Ipida mere” sung by Amaradewa is a synopsis of Buddhism and has become a classic but there are many other beautiful songs too, masterfully crafted, and beautifully sung: “Honda Kala ada” by Mohideen Baig, “Goyam paseela kumbure” by Indrani Wijebandara, “Devlova devsepa” by Indrani Wijebandara and Mallika Kahavita, as well as GSB Rani Perera’s “Mada diye pipunata” and “Turu wadulu tule, sandalu thale, kekulu sele surathale; Mukulu obe, vikulu dange, lelena dalu palakale“, a song which demonstrates how simple words could be melodically threaded.

He excelled in writing about inanimate objects; perhaps, the only lyricist to do so. “Awile semada” is about a candle, “Basicale” is about the bicycle, “Sarungale” is about a kite and “Naga lovin gena apu Bulathatha” is about sheaf of Betel, a song that runs through all the associated rituals, reminding us about our old traditions. Often, he made use of life-events to pen a song. Whilst having dinner in a Chinese restaurant, the waiter has dropped a tray earning a public reprimand from the manager which prompted, the moment he got home, to write “Wedakarala ewara nometha deviyane – Mokotada ma duppathwe ipadune“

He wrote songs for artistes with widely varying styles with equal success, few eternal favourites being: “Kedelle ativu kirille wage demapiiyan sevane” for Mignone and Jetliners which has become the favourite at weddings, “Piyumehi peni bothi wanabambaru” for C T Fernando, “Mal yahanawaki loke, nave chandraloke” for M S Fernando, “Sulange pavee ee wetha yawee ma pathu pathum” and “Oruwaka pawena re ganaandure” for Milton Mallawarachchi, “Diya podak wemin thol wiyaluna pipaseta” for HR Jothipala, “Neela jalase rangana hansa kumari” for Sisira Senarathna, “Namal komali” for Indrani Wijebandara though she grabbed the limelight with the song “Hithannako aiye, denwath heddennnako aiye” from the film Suraya, also written by Karunaratna Abeysekara.

He was so proliferous, sometimes, had written different lyrics for the same tune. Having forgotten that he had written “Me bhavayedi mulu diya daye” for Narada Dissasekara, he had written “Tajmahalak thanawanna ne mata” for H R Jothipala, both becoming very popular and, interestingly, both artistes choosing each as their favourite song!

His younger brother, Gunaratna too was a reputed lyricist and one day Jothipala had come to their place to get a song on Anangaya (Cupid) written and as Karuayya was away, Gunaratna wrote him “Anangaya man” which became a hit. When Milton Perera approached Karuayya about this, he had written “Supemlove kusum sara malsara” highlighting the failures of Anangaya which resulted in a rebuttal from Gunaratna. When there were a few exchanges of songs, many began wondering whether there is a rivalry between Jothipala & Milton or Karunaratna & Gunaratna, the speculation being put to rest by the brothers co-writing “Api santhosen inne, Duka sokhaya ne danne, Aiyya malli wage” which was duetted by Jothipala and Milton!

During Vesak, from every Dansela to Pandal “Obe ragi mana kelambedo” sung by Mohideen Baig is heard, this being among many songs with Buddhist themes Karunaratna Abeysekara composed but it is often forgotten that he wrote on Jesus Christ too: “Bethlehem pure, Dilindu gawahale“. Mohideen Baig’s strong voice often amplified the message in songs like “Sinahawen ho kathawen be maninnata minisa” and “Ma oba wenuweni Bharatha menige pa sevane wedune” describes Baig’s life story.

Lata mentioned in an interview that wherever in the world, when she sang “Perdiga muthuetayai me, Loke sirideru Siri Lanka” the audience stood to attention, no surprise as it ends with: “Negisitiya heka eksathwi, Bedigiyoth rata yaye sunwee“. However, Karunaratna Abeysekara’s most opportune message from the grave comes from Mohideen Baig’s song “Giri hel mudune Manel nopipe, Hiru nonagi awaragirehe” which ends with:

“Dinu jathiya vatina Sinhale, Abhimanaya wu deya Sinhale

E niga sirithe galee, Ha noga endinu delee

Parasiritheni oba Hela meni, eida soketa heluwe”

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Features

Building a sustainable future for Sri Lanka’s construction industry

Published

15 hours 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

15 hours 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/

https://www.reddit.com/r/IndianHistory/comments/1oc5tc2/in_his_autobiography_meri_jeevan_yatra_rahul/

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

https://www.dailymirror.lk/breaking-news/Mahawansa-declared-a-world-heritage/108-287528

https://mfa.gov.lk/en/visit-of-unesco-dg/

https://sundaytimes.lk/online/education/UNESCO-ready-to-support-digitalisation-of-Ola-leaf-books/290-1146314

https://media.unesco.org/sites/default/files/webform/mow001/53_131%252B.pdf

by KAMALIKA PIERIS

Features

A new Sherlock Holmes novel

Published

15 hours 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.