BOOK REVIEW THE SCULPTURE OF TISSA RANASINGHE - SEVEN ARTISTS OF AN ERA AT THE END OF TWENTIETH CENTURY BY NEVILLE WEERERATNE PUBLISHED BY THE NATIONAL TRUST SRI LANKA 2013 REVIEWED BY HEMANTHA SITUGE.

BOOK REVIEW

THE SCULPTURE OF TISSA RANASINGHE

- SEVEN ARTISTS OF AN ERA AT THE END OF TWENTIETH CENTURY

BY

NEVILLE WEERERATNE

PUBLISHED BY THE NATIONAL TRUST SRI LANKA 2013

REVIEWED BY HEMANTHA SITUGE.

e-mail : hemantha.situge@gmail.com

web : Hemantha Situge @ blogspot.com.

The Sculpture of Tissa Ranasinghe – Seven Artists of an Era at the end of Twentieth Century by Neville Weereratne is indeed an epoch making landmark book published by the National Trust Sri Lanka in 2013 which was released recently.

This splendid tribute of Neville Weereratne on the eminent sculptor Tissa Ranasinghe runs into several chapters. They are viz. THE MAKING OF THE SCULPTOR, 90 pages which spans into 10 Roman numbers in chapters from pages 91 to 120 are titled A bronze gallery contains photographs of 62 magnificient work of Tissa Ranasinghe, The appendices ‘A’ : titled. The problem of Buddhist Art in the Modern world written by the late Michael Wright Bangkok 2002, “B” : titled A rare phenomenon by Professor Sri Eduardo Paolozzi CBE : RA. 1994, “C” : titled The maker of Sculptures a memoir by Robert Vigneau, former director of the Alliance Francaise in Colombo, in the catalogue for the exhibition. Tissa Ranasinghe Bronzes, at the Harold Peiris gallery, Colombo 2007, “D” : titled Notes on THE DANCE and “E” : titled curriculum vitae, From pages 168 to 172 of this contains. Tissa Ranasinghe in various collections 90 Sculptures in Sri Lanka which belongs to various prominent personalities, 26 in public collections. 8 Commemorative Sculptures, 3 murals in public buildings, 10 in sculptor’s collection and 49 in overseas collections thereafter page 173 contains the references used by the author. I wish the writer Neville Weereratne, would have carried the contents in one page before his excellent write up on the introduction and the preface written by Prof. Albert Dharmasiri.

The National Trust – Sri Lanka has acknowledged with gratitude to the G. C. Mendis Memorial Trust Fund due to whose auspices the publication of this volume has become a reality.

This fetchcrift is the first of seven artists of an era at the end of twentieth century on varied topics according to Dr. Roland Silva, the President of the National Trust Sri Lanka. The other six are : Architecture – Geoffrey Bawa – by Architect Shanti Jayewardene, Danace – Chitrasena by Nihal Rodrigo, Drama – E. R. Sarathchandra by Prof. J. B. Disanayaka, Literature – Martin Wickramasinghe where the author has not selected, Music – Amaradeva by Prof. Carlo Fonseka and Painting George Keyt – by Prof. Albert Dharmasiri. Tissa Ranasinghe and W. D. Amaradeva are the only two who has received this tribute from the National Trust Sri Lanka during their life time.

According to Senior Lecturer of the Faculty of Sinhalese in the University of Colombo Rev. Agalakada Sirisumana in his article on the ‘Ancient Standing Statues’ (in Sinhalese) published in the Centenary Volume of the Journal of Sri Lanka Oriental Studies Society (1902-2002) at page 475 to 482 states that according to the ancient chronicles the history of Buddhist statues in Sri Lanka runs into the 3 century BC. A statue that was reposed by King Devanam Piyatissa in Thuparama Stupa earned the respect and veneration of the subsequent kings. If this has some weight the earliest to carve Buddhist statues are Sri Lankans or then the Ceylonese. The art of Sculpture runs in the veins of the Sinhalese. In an era where there was no sophisticated technology, the chisel and the immortal creative hands of the ancient sculptors, their high standards of skill and measurements have baffled the present day architects.

The art of sculpture exclusively belonged to one of the low ‘berawayo’ castes in the primordial times of Ceylon. Vide at page 295. The Sinhalese Caste system of Central and Southern Ceylon by William H. Gilbert JR. Ceylon Historical Journal Special Suppliment, Vol II 324 January to April 1953. Tissa Ranasinghe has managed to overcome this myth in sculpture as a caste oriented industry or has managed to brook this opposition.

Though the Sinhalese sculptor has remained as anonymous, Dr. Nandadeva Wijesekara in his ‘Early Sinhalese Sculpture’ Gunasena 1970 cites Chulavansa Chapter 80 page 129 V23. Epigraphia Zeylanica Volume II page 173, 177. King Nissankamalla had gone to the Dambulla Lena ordered 73 seated Buddha Statues to be erected. He got them painted in gold and thereafter venerated them. Dr. Wijesekara has also cited the Gadaladeniya Inscription recorded in Epigraphia Zeylanica Volume IV page 108 wehre the Tun Mahal Pilima Geya the three storied place where statues were house.

Professor Mahinda Prematileke in his article on the statue of Potgul Viharaya in Polonnaruwa (Polonnaruwe Potgul Vihara Prathimawa) (in Sinhalese) Godage 2006 in Sinhalese arrives at a erudite finding at page 118 states that the statue of Potgul Viharaya is of Karuwar Thevar a close devotes of Lord Shiva is indeed a South Indian saint which facilitated the Chola Kings Raja raja & Rajendra to built their empire.

Sthapathi Ganadipathi in the 14^th century Gadaladeniya Inscription, Epigraphia Zeylanica. Volume 4 page 90 is the person who is overall in charge of the sculptors according to Rev. Kothmale Amarawansha’s Lakdiva Sel Lipi, Gunasena 1969. See : Archeological Survey Report 1956 Also see : Dr. Nandadeva Wijesekara’s Heritage of Sri Lanka 1984 (chapter 13) on Sculpture page 96 to 112. Professor Anuradha Seneviratna in his Ancient Anuradhapura the Monastic City, Colombo 1994 at page 308 the earliest Buddha image found is from Mahailukpallama Anuradhapura dates back to second century a standing marble Buddha statue six feet in height now found in the Anuradhapura Museum. He has stated that ‘It is fashioned in the Amaravati region and imported to Sri Lanka’. Also see : Leelananda Prematileke’s Early Buddhist Sculpture of Sri Lanka : Buddha, Bodhisatva Review to the end of 10^th Century published in History of Art and Architecture of Sri Lanka Volume II edited by L. Prematileke et. al. page 625 to 659, 2007.

At page 3 of this book entitled THE SCULPTURE OF THE TISSA RANASINGHE Neville Weereratne states that ‘the history of sculpture goes back to the first century’ therefore cannot be accepted as there is no cogent evidence to establish same. At page 48 of the book of Neville Weereratne’s I find a salient error as a caption to the sculpture erected by him at the Independence square premises is by oversight in indicated as ‘outside the House of Representatives in Colombo’. This is evident from the other building in the background of the photograph. At page 51 of the book Weereratne states that : “Woodfords “monstrosity” now stands before the independence Hall in Colombo”. This is another error in view of the above caption. At page 164 – 7 the curriculum vitae is incomplete as I learn his full name is Kulatileke Arthanayake Tissa Ranasinghe. I wish if the readers knew the date of birth of this true son of soil.

Tissa Ranasinghe has had the opportunity of casting the statues of Dudley Senanayaka, Sir John Kotelawala and S. W. R. D. Bandaranaike all executive prime ministers found at the old parliament premises. I have reliably heard that when Dudley Senanayake passed away in 1974 his face was taken in a mould of plaster of paris. Was it Tissa who was commissioned to do so ?

Though there is no bibliography found in this book there are five references replete in this work. With the plethora of literature cited by the author in this magnificent book on the Sculpture of Tissa Ranasinghe one Sanskrit Book entitled Manjusiri Bhashitha Vasthu Widya a Sanskrit tome dealt on sculpture translated into Sinhalese by Prof. Walter Marasinghe is a salient omission that needs to be mentioned.

The National Trust – Sri Lanka deserves to be congratulated for felicitating seven nations artist of an era at the end of the twentieth century. In other words these books pay a due homage or a glowing tribute to the services rendered by them to the Nation. I read and re-read THE SCULPTURE OF TISSA RANASINGHE by Neville Weereratne. Sculpture of Tissa Ranasinghe continues to fascinate me. I eagerly wait to read the other six books.

Tissa Ranasinghe is a maestro in sculpture with a vision who envisioned himself ‘the visions of Buddha and the visions of Gods’. He carved a niche in the annals of 20^th century sculpture in Sri Lanka. Tissa Ranasinghe is indeed a legend. He is an icon of exceptional caliber. Octogenarian Tissa is a prolific indefatigable sculptor. His relentless search or to ransack for the true identity of the Sinhalese Sculptor has made him a genius with a vision. Tissa Ranasinghe’s contribution in art and sculpture in Sri Lanka is almost synonymous with our country. Ad Multos Annos !