The Island leisure

He forsook brush and paints for chisel and mallet

by W.Wilfred Lasz
Death came to I. Viswalingam, wood carver par excellence, in the early hours of June 30, 1998 in Puranawatte, Kandy. He died as dramatically as he lived.

Viswa, as he was popularly called, was a Bohemian to the hilt, as do most creative artists. He lived a full life, sometimes at the expense of family responsibility. At other times he could be the most generous of men.

To me Viswa, whom I had known for nearly half a century, was a lovable character despite his idiosyncracies and peccadilloes,which he had in ample measure. I write this not merely as a tribute, but more in the vein of a critique. To say Viswa was the embodiment of all that is good in mankind would be dishonest. For one thing it would go against the grain of my moral fibre; for another Viswa would prefer to see himself warts and all.

Remarkable
He was a remarkable character, who loved the good things in life. I pride myself of having known him inside out. I may yet be wrong.

An artist to the manner born, a creative genius bubbling with imagination, new concepts of art and images, Viswa remained a child— a spoilt child at that — at heart, even unto death.There was a strong streak of childish mischief behind his serious facade.

I. Viswalingam

He could enthuse a party with song and dance — he was very adept at that — and could mimic any personality, down to mannerisms, which went unobserved by others to mimicking the Veddahs on a wild boar chase, as he could infuse life and spirit into cold dead wood and bring it alive to represent an idea, image, mood or nuance. That was Viswa, in short.

Short, dark and slight of build, he was nonetheless the life and soul of any group he graced, effervescent and frothy despite cocooned in a ball of adversities. This I have known of him from his mental and spiritual make-up.

Like most geniuses— he was undoubtedly that — he had to have some kind of character flaw. With Viswa, it was the love of Bacchus — the bane of an otherwise positive lifestyle.Yet he was honest and did nothing to cover-up this weakness — not even to God. He would say with aplomb, " Excuse me Sir, I have had a few drinks... " when meeting distinguished personalities at some interview or other. The paradox was that he came to be liked even more.

Born in Deiyanawela, Kandy, his mother had grandiose plans for her elder son. But Viswa had other ideas. The blood of the artist flowed in his veins. But to satisfy his mother he entered Law College with pretensions to becoming a lawyer. This pleased his aged mother, who possessed quite a bit of land. Her death freed Viswa from all shackles.

Prosaic
He married a pretty lass, a school teacher who taught at the Kandy convent. And soon they were blessed with a girl child. Viswa opted for a prosaic lifestyle.

He for a while tried his hands at some humdrum ' vocations '— Cooperative Inspector, Cigarette rep, poultry farmer. In fact, he was sorting out things for himself. Was he to take the plunge? For one thing he was financially secure at the time.

But the call from his aesthetic core was hard to resist. At St Sylvester's College, Kandy he had displayed a marked flair for painting landscapes in water colours and oils. He had bagged some memorable awards while still at school.

Viswa did take the plunge with some reservations, though. He dabbled in water colours and oils on canvas. This did not satisfy his raging soul. So he moved on to arborics. Neither did he find solace or satisfaction here.

The idea of wood carving flashed in his mind's eye. Here was virgin territory he had never trod. But the courageous fellow had faith in himself. The basic instincts of art were in him.

Metier
In an unguarded moment he bought himself chisel, mallet and knife... and went to work on wood. He has never regrettted that moment of his life, for Viswa had found his true metier.

The first few pieces of this nascent wood carver — mainly elongated figurines — a subtle synthesis of the Oriental and the Occidental — impressed quite a few art lovers.

His craftmanship bore the stamp not only of quality, but a new innovativeness and ingenuity. Some of his patrons forced him into joining the 67 Group and the Ceylon Society of Arts.

Greatly influenced by the Russian born American sculptor, Alexander Archipenko, Viswa transmuted those lines into wood, giving them his own individuality and expressions, based on local themes.

Spurred by people like Professors Hilary Cruz and Ashley Halpe, Senator Reggie Perera, L.P.Goonetilleke, Donald Ramanayake, Harold Pieris, K.V. J. de Silva and Anton Wickremasinghe, Viswa set his sights still higher — elevating and profound.

In 1963, the Central Province Art Teachers' Association sponsored an exhibition exclusively for Viswa's works. 200 pieces of an assortment went on display. Notable patrons of the arts were highly impressed by his craftsmanship and rare skills — his subtlety of line, tone, touch and movement and of his innate ability to select the apt wood for works texturewise, grain, strength etc.— milla, rosewood, teak, mahogany, ebony,satinwood and so forth.

Soon after this exhibition, art connoisseurs like Prof. Ralph Peiris, then Chairman of the University Arts Council, Dr.Siri Gunasinghe, himself an accomplished artist, George Keyt, the doyen of Sri Lankan painters and Ian Goonetilleke, Campus Librarian banded together to promote a similar exhibition sponsored by the UAC.

The exhibition was an instant success. Lovers of art from the four corners of the island visited the exhibition. Viswa's exhibits, mostly abstracts, were snapped up like hot cakes by both the locals and foreigners alike. Viswalingam had arrived.

Celebrities
To cut a long story short, Viswa counts among his clients celebrities like Dudley Senanayake. Dudley purchased a ' Kissa Gothami ' plaque depicting a Buddhist theme, at the opening of the Laksala Kandy branch.

A wooden plaque of the Dhamma Chakka Chutra adorns the entrance to the Lankaramaya, Singapore. This piece of art was acquired by H.A.Gunapala, the well - known Sri Lankan businessman in Singapore.

Another work of art capturing the spirit, mood and tempo of the Kandy Esala Perehera emblazons the lounge of Queens Hotel, Kandy.

Still another masterpiece of his was sent to Biennale de Paris by the Cultural Department at the instance of the then Minister I M R A Iriyagolle. That was an elongated head.

And then a compliment from The Netherlands. Sister Theofodr Maria OSB, a nun held in high esteem and a noted art connoisseur, wrote Viswa these memorable words...." Your beautiful Christ on the Cross... I am happy to have this fine piece of art — your art — in our House, and congratulations on the execution of the same. I show it to everybody so your name will be known in Holland..."

That is the evaluation of Viswa by people knowledgeable in the arts. But to me he will always remain a dear friend — a living being — even in death, with whom I have shared many happy hours and many a mischievous escapade.

But before he breathed his last, he had the soul - satisfying knowledge that he had bequeathed to his youngest son, V. Jeevanand, ( 18 ), some of his extraordinary skills in the realm of wood carving. The son, too, has great potential and is sure to make his mark before long.

Nor does his wife Yoga and kids need to brood over his demise, surrounded as they are with Viswa's works, which metaphorically speak to them — in all moods and nuances of life. In that they should find perennial cheer and moral sustenance.

Adios Amigos !

Forgotten Heritage
The submerged civilisation

by Gamini Punchihewa
Off the beaten track of Dehiattakandaiya (Mahaweli System C) deep in its fast retreating jungles lie some relics of a forgotten heritage.

Despite these areas now teem with human settlements, yet among the forest glades lie a mass of archaeological ruins-most of them lying uncared for.

In the early 1990's I stumbled on these archaeological ruins after motoring from a roadway junction called Bakmeedeniya along the bund road of an irrigation channel feeding the vast tracts of rice fields, in areas settled with families, from Victoria, Randenigala and Teldeniya regions after their traditional homes and lands were submerged with the Victoria and Randenigala tanks.

Guide
Our guide an old villager from Dehiattakandiya and settled in this area under the Mahaweli projects. He knew the jungle trails very well.

Close to the banks of the Mahaweli ganga, we came across the remains of a defunct water pump system.

Our guide told us that on its opposite bank was the area coming under the Matale district, while this side of the river was partly in the Polonnaruwa and Badulla districts. Here we crossed two rivulets named Pollawattaweloya and Elle-Koteliya.

Waiting through the tracts of terraced rice fields, we came across a stone slab on the ground close to the kamatha-threshing floor. There were two grooves carved out resembling slots to hold the door handle of some ancient period. It looked like a stone door.

Woodland songs
We emerged into the jungle after crossing these two streams and trudged through forested trails interlaced with a mantle of man a grass and denuded forest. We crept further through the entangling jungle growth of giant creepers that wound around the jungle trees.

The woodlands were filled with a medley of songs coming from the Jungle Shama (Wal Polkichcha) the nightingale of the forest. Black capped bulbuls flittered from branch to branch emiting their sweet melodies, while the requet tailed drongo gave out sonorous calls 'ding dong bells'.

Jungle fowls crossed our path but on hearing our approaching foot steps, they took to flight loudly flapping their wings.

A herd of deer six of them, one with a majestic pair of antlers we observed grazing in the plains before us. Elephant dung was found on our path, a varitable sign that they had haunted the previous night.

Relics of a past
Standing in mute testimony to the glory of an ancient civilization were those treasured relics, comprising a ruinous chaitiya, in a mound of broken ancient bricks. Here vandals had dug out the apex of the stupa to its very depth.

Our guide recalled that when he first discovered them about ten years ago, its top and base had been dug out. The saddest part was that the relics of those stone monuments were mutilated and wantonly damaged. Our guide had noticed about ten years ago was then in a pristine state.

When we visited this ancient site in late 1980's and early 1990's, we were told that archaeological officials had deciphered that those moonstones and other relics there belonged to the Nissanka Malla period of the 2nd century A.D. there were no remnants of the well known Nissanka Malla stone edict. Perhaps these relics may be still lying buried in the depths of this site.

Even moulding bricks used for the base of a dagaba were found among them. The ordinary bricks measured 8" X 5" having a thickness of 1 1/2 to 2 inches indicating the period to be 2-3rd century B.C.

Weird Legend
An eerie legend woven around the Elle-Kota-Liya unfolds it thus:- In those days of yore, it is said that a dwarf balle (kota dwarf - liya damsel) used to alight on a rock near a stream where she would sit and on seeing a human being she vanished into thin air, without being sighted by anyone like the 'Scarlet Pimpernal' of literary fame! Hence this stream came to be called 'Elle-Kota Liya'.

Our guide told us that on moon-lit nights while seated on a tall forest tree overlooking this Elle-Kota-Liya, he had a glimpse of this 'elusive ghost'-Elle-Kota-Liya!

Dahiattakandiya (coming under part Matale and Polonnaruwa districts) bears evidence of the victorious march of Prince Gemunu with his gallant army to meet Elara in battle in Anuradhapura through Girandurukotte.

A little distance away from Elle-Kota-Liya are said to be found the remains of Dutugemunu's castle. A few stone pillars live to tell its tale whatever it origins were.

As this area comes under the Mahaweli Authority of Sri Lanka, it would do well if the authorities in Dehiattakandiya take meaningful steps to conserve and preserve these damage with the concurrence of the Department of Archaeology.

High Fashion
'Perfect love' and family candle

by Kirthi Sri Karunaratne
Lilamani Wijayaratna and Desmond de Silva were married in March in London, but flew all the way home to celebrate the event. It was a dinner reception at the Colombo Hilton ballroom, given a new aura with decor only done with greenery and candles. Instead of lighting the usual brass lamp, they brought an innovation by lighting a family candle.

The sister of the groom and her husband, and the brother of the bride and his wife represented the two families, with the couple lighting the central large candle. The wedding took the form of a party enjoyed by the many family members who flew out from many parts of the world, with singing and dancing ignited by the happiness the bride excluded.

Lilamani

Desmond who is a well-known vocalist set the ball rolling by singing "Perfect Love" to his lovely wife.

Lilamani looked a picture of subdued elegance in a saree of soft caramel hued silk chiffon, bordered in a gossamer cobweb of gold lace, entirely re-embroidered in pearls of the same colour. Her long tulle veil in pale cream was exquisitely bordered in a white and gold lace, and flowed from sprigs of little flowers in her hair. She wore a padakkam of gold, set with pearls and diamonds.

Her bouquet was in white Tiger lilies and roses, and phelonopsis orchids mingled with greenery.

Her bevy of pretty young bridesmaid, all nine of them, wore simple white sarees with ribbon borders of gold, with only the pallu worked in a sunray of design in gold. They carried gold sheafs of pink and cream roses and baby's breath off white cornucopias. For jewellery they wore pearls and had the same flowers in their hair.

Lilamani who is the daughter of Donald and Sushila Wijayaratna is a doctor by profession.

Fun party on birthday
Friends gathered at the Taprobane to join the hostess in a birthday celebration at which a lot of fun was had by all, as most of those present were all known to each other. There was music for dancing which kept them on the floor, and a good dinner as well.

Fashion was much in evidence on this occasion and among those we spottted was Ranjinie Wijewardene in a salwar kameez outfit in a deep blue patterned in gleaming coppery tones.

Striking was the shaded saree in rust red Onitha Weeratunga wore with a blouse in the same colour, the longer wrist length sleeves of which was in flesh toned net worked in pearls, sequins and beads in the rust red to create spirals of a dainty design. Her pendent was central coral framed in diamonds, with ear studs to match.

Ranjinie

A woven saree in dacca style was the choice of Lelani de Silva. The black saree was patterned in an orchid hued magenta with aquamarine centres, she wore with a black blouse.

Youthful Dakshini Atukorale dressed to suit her tender years in a two piece consisting of a black skirt, and a velvety finished oyster pink top.

A simple long gold chain was her choice of an ornament.

Nalini Senanayake had her black saree printed in white dots of different sizes, ranging from poeka to pin dots, making panels of pattern. Her jewellery was in pearls.

Inner Wheel Installation
There has been a spate of Installations among the Rotary and Inner Wheel Clubs of Sri Lanka. At one such Installation Shamalee Juriansz was elected as the thirty fourth President of the Inner Wheel Club of Colombo. The saxe blue saree Shamalee wore for the occasion was prettily worked in pink and white in thread embroidery on the pallu and in scattered motifs on the saree. A long strand of pearls was her choice of ornament.

Ermina Muttupillai had her saree of an unusual shade of cyclamen bordered and patterned on the pallu in a fusion of colour ranging from turquoise to orange and mustardly yellow. The blues and lilacs on Renuka Amalean's saree was most pleasing to the eye, she wore with an deep turquise blouse and pearls for jewellery.

Blocks of colour and design in silk made the saree Rohini Tudawe wore quite unusual. Her blouse was in a high necked style in a smoky grey. The colours on her saree ranged from amber to violet, to pale pink, and rust and grey.