VEN.S.MAHINDA THERO

S. Mahinda was born in Grantock, the capital of the capital of Sikhim a small state bordering Tibet in 1901, into a well-known family. His family. His family name was S.K Thashinamgal. His Professor of the Tibetan language at the University of Calcutta. The second in the family had been the Prime Minister of the king of Sikhim. The third was a Buddhist monk. He lived with his monk brother since his parents had died when he was still a child.

In 1913, his monk -bother and Venerable Nanatilaka a German Buddhist monk brought him to Sri Lanka. They took residence at Polgasduwa Arama Dodanduwa. He had studied Sinhala, Pali, Sanskrit and Buddha Dhamma at Vidyodaya Pirivena, Saila Bimbaramaya, Dodanduwa, Ratmalana Raja Maha Viharaya and later on joined Maha Bodhi Vidyalaya, Maradana for his English education.

Sometime after the first world war, he was ordained as a Buddhist monk under the guidance of Ven. Ratagama Sri Chulasumana of the Anuradhapur sect. He was given the name S.Mahind (Sikhim Mahinda) Again in June,1913 he was reordained in the Syamopali sect, under Ven Lunupokune Sri Dhammananda, Principal of Vidyalankara Pirivena, Peliyagoda. His spiritual teacher was Ven. Kirigalpotte Dharmakirthi Sri Dharmarama Indrajothi Nayaka Thero, the chief incumbent of Ratmalana Raja Maha Viharaya. His higher ordination was made at the Malwathu Vihara, Kandy in 1931.

He continued his studies and was able to pass the preliminary and intermediate examinations of the Oriental Studies Society. This helped him to serve as teacher of Sinhala, Pali and Sanskrit at Ananda Collage, Colombo for abour four year from 1934.

True he was not a Sinhalese by birth but his love for the adopted country was obvious. This love for the country found expression in his poetical works. As poet he had two main Objectives. One was that he wanted to infuse vigour into the struggle for independence that had been activated by the national leaders. Nidahase Manttaraya, Nidahase Dahana and Siri Lak Amme are three poetical works of Ven.S.Mahinda. These compositions were a direct appeal to the nation aimed and straightforward.

He paid careful attention to helping in the development of children’s education. Several of his poetical works were intended for the children. Lama Kaw Kalaba became very popular in schools Kawmina,Kawmuthu, Ova Mutu Dama, Nandana Geetha and The Cradle of the nation were also intended for the children to read and enjoy. The language of these compositions is simple, the experiences that they speak of appeal to the young mind. Not only they make reading enjoyable, but also are greatly helpful in learning the right kind of behaviour, knowing about the glory of the past and emotional development of the children.

Several books on Buddhism, commentaries on some Sinhala classics and some biographies have also been written by Ven.S.Mahinda was poet and patriot of nobel make. He had definite message to the nation and he was sincere in his purpose

On 16.03.1951 at the age of 50 a life lived for the good of others came to an end at his temple at Alubomulla.          

  

EDIRIWEERA SARACHCHANDRA

To Ediriweer sarachchandra, Sri Lanka owes the birth of a new tradition in drama; the stylized drama, which is truely indigenous in character. He wrote plays which were lively and amusing deeply moving and artistic.

First a Collage teacher, then a newspaper administrator, University teacher, playwright and producer, novelist and short story writer and a critic, he was born in Gammeddegoda, Dodanduwa, Ratgama on 03 June 1914 to a lower middle class family. The parents gave him the name Eustace Reginold Richard de Silva. Later he adopted the name Weditantrige Ediriweera Sarachchandra. His father was a postal clerk and the mother a Sinhalese teacher.

He attended several school for his early education namely Richmond Collage, Galle. St. John’s Panadura, St. Aloysius, Galle and St. Thomas’, Mt. Lavinia. At the age of 20 he entered the University Collage, Colombo and obtained an honors degree in Sinhala, Pali and Sanskrt.

After graduation he taught Sinhala for some time at St. Peter’s Collage, Wellawatte. Thereafter he worked for one year in the administration division of Lake House. In 1939, he married Ayline and had two daughter Nanditha and Sunethra.

During 1939-1940 he studied Indian philosophy and music at Shantinikethan in India. On his return, he joined St. Thomas’ Collage, Mt. Lavinia and was a Sinhalese teacher for two years. He changes, his job in 1942 to join the Sinhalese Encyclopaedia as a sub editor. In 1944 he secured an M.A. in Indian Philosophy from the University of London (external) The same year, he joined the University Collage, Colombo as a lecturer in Pali. He then proceeded to the University of London and obtained an M.A. in Western Philosophy. For his research in Buddhist Philosophy, the University awarded him the Ph.D. degree. His thesis for the Ph.D. was on The Buddhist Psychology of Perception and The Theory of Bhavanga. He was lecture in Pali for some time. In 1952, he was appointed lecture in modern Sinhalese at the University of Ceylon, Peradeniya.

During 1955-1956 he studied drama under a Rockfeller Scholarship in a number of countries. He had the opportunity to study drama in the Universities in India, Japan and America. He contracted a second marriage in 1965.

Then a train of prestigious position came his way, A visiting Professor at Ohio State Denison University lecture at Earlham Collage. Indian state, return to Colombo University, Ambassador in France, Research Professor at East West Center of Havai State, external lecture in drama at the University of Colombo, honorary doctorate from the University of Jaffna. D. Lit from the University of Peradeniya, Professor Emeritus University of Peradeniya, Advisor, Sarvodaya Movement, Media Consultant Lake House, Consultant, Ministry of Culture Affairs the award of Kumaran Asan honour from India and the Megasesse Suri award from Philippines.

He is undoubtedly the greatest Personality in Sinhalese dramatic art. Yet, his literary career began as far back as 1949 with the publication of Modern Sinhalese fiction. He was the first to apply Western Standard to make a distinction between good and bad in Sinhalese literature. Sahitya Vidyawa, The Sinhalese Novel, Kalpana Lokaya, Natya Gaveshana are some of his works in this field.

Among the ten novels had written Malagiya Eththo and Malavunge Avurududa, Vilasiniyakage Premaya stand out as works of artistic perfection.As a short story writer, he surpassed many in his time. Kalayage Avamen, Maya Rupaya, Rupa Sundari and Gruhiniya Midiya ha Upasikawa were collection of short stories. There were also a few translations to his credit, Pransa Keti Katha, Russian Keti katha, Menik Sami and Yerma fall into this category. Sinhalese Folk Play is a product of his indepth study of the traditional theatre of the Sinhalese.

There was no question that Sarachchandra was the brightest star the brilliance of which spread over the length and breadth of the Sinhala Drama. His experiments in finding out what was best in an indigenous setting began with the production of western dialogue plays as translation or adaptation. Kapuwa Kapothi, Magul Prasthawa, Walaha and Manager were some of the productions that belonged to this class. The realization that he was not following the correct path came to him with Veda Hatana. This was a joint production of Moliere’s LE MALADE Imaginaire in Sinhala with Neuman Jubal. The spectator laughed their bowels out when the play came on stage but it did not penetrate deep into the heart of a Sinhalese audience.

Then came the culmination of Ssrachchandra’s aspirations for a truely indigenous dramatic tradition with the staging of Maname on 3 November 1956 at Lionel Wendt. Maname marked the turning point in Sinhalese drama. Maname is based on culla Dhanudhara Jatake, which many times in the past had been brought before the lovers. But Maname of Sarachchandra is a unique production. Princess Maname is different from the princess we are familiar with. So are the prince and the Veddah king. The play gives a universal message which in the past no production of Maname had ever conveyed. Sinhabahu brought to the stage five years later deal with a still deeper conflict of human nature. The plays like Rattaran, Elova Gihin Melova Ava (1954) Kada Valalu (1958) and Lomahansa (1985) belong to this class of stylized drama.

Maname and Sinhabahu had left a lasting impression in the mind of the theatre goers and greatly influenced the younger producer such as Gunasena Galappatti and Dayananda Gunawarden.

Professor Ediriweera Sarachchandra, the awakener of the love of Sinhalese drama, the inspiring novelist and the first class critic whose towering personality overshadowed the entire field of art and literature breathed his last on the 16^th of August, 1996.          

     

        

P.B. ALWIS PERERA

His activities as a poet saw the rise of a reading public with a different taste. A large section of the people, especially the young men and women developed an interest in reading poetry.

P.B Alwis Perera was born at Palliyawatte, Kollupitiya on 03 March 1917. His father was P.B. Jemis Perera. He had his primary education at Wesleyan Methodist school. Though later he was admitted to St. Anthony’s he could not pursue his education beyond the fifth standard.

The family difficulties compelled him to look for employment and so he joined a newspaper firm as a minor employment and so he joined a newspaper firm as a minor employee. He however saw to it that for him, education was continuing process. Reading interested him. Through self-study he gained knowledge of a variety of subjects, particularly language, literature and arts.

The year, 1944, in fact marked the beginning of his literary career. A poem he had written won the first prize at a poetry Competition organized by the Sinhalese Society of the University of Ceylon.

Thereafter, he was a regular contributor of poems to newspaper and journals. In the meantime, he became the Editor in chief of the newspaper HELADIVA. His popularity increased with the start of Dedunna, monthly journal of poems. Almost all contemporary Colombo era poets contributed to this journal. The journal became very popular with the younger people. Eventually he was elected President of the Aganuwar Tharuna Kavi Samajaya, an organization of Colombo era poets. He married Indra Kumaranayake poetess.

He has written several collection of verse compositions. Ukdandu Dunna, Soba Dahama and Minipana were the more popular. The other works include Budu Madura, Rantaliya, Vedanava, Ape Hatana and Miya Giya Kirilliya.

Alwis Perera’s language is simple. Deviating from the tradition of classical poetry he always looked for new themes, new similes and metaphors. He was not much concerned about the convention of classical poetry he always looked for new themes, new similes and metaphors. He was not much concerned about the convention rules of poetry.

Death overpowered him on 31 August 1966.    

ANANDA KENTISH COOMARASWAMY

An illustrious son of Lanka Ananda K. Coomaraswamy has left an indelible mark on several fields of intellectual activity. Though his university education led him to be a graduate in geology, he had greater interests in art, architecture, sculpture, philosophy and Indology.

He was the son of another eminent personality, Sir Mutucoomaraswamy the first Sri Lankan to pass out as a barrister in England. His mother was an English lady. The two patriots, Sir Ponnambalam Ramanathan and Sir Ponnambalam arunachalam were his sister’s sons.

He was born at Kollupitiya on 23.08.1877. His mother took him to England where he had his education at Wyclif College. Later on he joined the University of London. At the age of 23 he passed out as an honors graduate in Geology. After graduation he secured employment at the University as a lecture. He obtained his ph. D in geology and he was the first Sri Lanka to get a Ph. D in geology.

Then he returned to Sri Lanka and was appointed Director of the Department of Mineral Resources. This appointment gave him an opportunity to travel the length and breadth of the country to conduct research into the mineral resource. He wrote a book, “Fossils and Mineral of Ceylon” based on the results of his research work.

Of Sinhalese craftsmen under mediaeval conditions. The book contains a great deal of valuable information in regard to such subjects as Sinhalese Design and Ornament, Architecture, Woodwork, Stonework, Figure Sculpture, Painting, Ivory, bone, horn and shell lac-work earthenware, weaving and embroidery.

The fact that this love of art never diminished is evident from the spate of publication that followed. They include,

Selected Example of Indian Art

Elements of Buddhist Iconography

Wall painting and Ceylon

The Dance of Shiva

The Origin of Buddha Image

History of Indian and Indonesian Art.

His research publication has embraced religion and philosophy as well. In this field the books he had written were Buddha and the Gospel of Buddhism, A New Approach to the Vedas and an Essay on Vedic Ontology.

In 1906, he left the government service and went to India to carry out further studies of Indian Art and Craft. While he was engaged in his research he was offered the post of keeper of Boston University Art Museum.

He was indeed one of the greatest men in the field of cultural studies. He died