Introduction
Five and a half kilometers south of Dimbulagala temple are the little known Pulligoda
galge frescos. Crossing a delightful little lake named Hitcha Pitcha wewa, and circuiting
the changing range-scape of Dimbulagala, an unsealed road leads you to this lonely
grotto. A short climb up through a maze of jungle and rock boulders, and guided
more by instinct than by a path, you reach this forgotten pocket, considered a milestone
in the history of our artistic heritage. A fragment of colors are seen on the rock
wall of the shallow cave.These may have at one time covered a wider surface.
History
The surviving fragments depict five male figures seated on lotus cushions placed
on a broad seat which may have been a fragment of a larger scene of devotees in
an attitude of veneration. Art scholars have described it thus: the male figures
depicted here have reached a stage of mental attainment (sovan, sakradagami, anagami
and arhat) as signified by the oval aura shaded red behind each head. The saintly
figures are seated with their legs crossed. Their soles painted red with cosmetics
like their palms. The lower garments consist of pantaloons reaching down to the
ankle of plain red or stripes. Their head dresses vary distinguishing two figures
as Brahmins. Another wears a white band of sacred thread across the bare upper body
marking a sage. Earrings, necklaces, armlets and , bracelets are also worn.. One
figure is green in complexion. One of figures holds a lotus bud with the stalk while
the left arm is folded and held across the chest in a charming gesture of offering.
The others seem to hold their palms together in graceful worship. The pigments of
earthy red, ochere, yellow and green stands on a background of white with small
circular designs.The frescoes even after many years still remain vibrant in their
impact radiating spirituality.
The dating of these frescoes is subject to debate. Some scholars believe that they
are contemporary with the Polonnaruwa paintings (12th century), while others propose
by referring to the material technology a date as early as the 4th century AD. (Even
older than Sigiriya.)
|