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Makara Torana
Makara in art and sculpture
Makara torana placed over an image of a bronze gilt Buddha at the Danagirigala
Vihara in Galaboda Korale
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Among the numerous motifs that adorn the crafts of Sri Lanka, the mythical
figure of makara stands out as one of the most fascinating configurations. Though
it had become a favourite element in the arts and crafts of Sri Lanka, its origin,
as with many other examples of motifs in Sinhalese art and architecture, has
to be traced to prechristian ages of the mainland. According to the early researches,
the origins of Sinhalese aesthetic aspects of art in our culture the earliest
form of the makara has been traced to the Lomas Rishi Cave of the Brabar hills
in Bihar. Since then it has appeared not long after in the temples of Bharhut,
Sanci, and Amaravati; in addition its appearance as an architectural feature
has been noted in many countries in the Asian region, such as Cambodia, Jawa,
Campa and Sri Lanka.
A sketch by L. T. P. Manju Sri who has reproduced the many forms of the
Makara
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The forms of these appearances have been so varied that many eminent commentators
have defined the motif in different ways. Thus Grunwedel in his Buddhist Art
of India (p.59) has thought it to be a sea-elephant; on the other hand JP Vogel
in his book, The Relations between the Art of India and Jawa (pp.20-29) had
been quite convinced "that there cannot be any shadow of doubt it
is a crocodile". What is more, some of the drawings of the animal
are shown with four legs, while the vast majority of the figures show only
two legs.
Meanwhile the description of the animal appearing in the Rajawaliya
(v.192) runs as follows:
"The makara has the front of an elephant, and the feet of a lion, ear
of a pig, the body of a fish living in water, having teeth turned inside and
eyes of those of hanuman and a nice tail."
There are other instances where the motif had appeared. It is found on the
flag of Kamadeva, Indian God of Love, and is named Makaradwaja. In the symbolism
of the Zodiac the house of Capricorn is given the name Makara. Its appearance
in the architraves of early forms occurs in different ways, as for instance
a head-dress ornament, as an ear-ring called makara kundala; in jewellery it
is used as a pendant called makara padakkama. It is also found as medallions
on railings and cross-bars, as a gargoyle carrying offering waters from a linga
shrine; a later motif of pearly garlands suspendent from a kirti-mukha jaws
of a makara, the extraction of which from its jaws is considered a proverbial
example of courage (Yaksas - Ananda Coomaraswamy, Yaksas II, p.144)
In the architraves of various buildings in Sri Lanka the makara and the makara
torana appear very frequently both at the entrance to a temple where as image
of the Buddha is placed as well as the structure where the image is placed.
A very striking example of an instance where the makara torana is placed at
the entrance to the temple is at the
Temple of the Tooth
,
Kandy
.
Meanwhile, an example of a makara torana is placed over an image of the Buddha
is the one at Danagirigala Vihara in Galaboda Korale which is reproduced above.
There are numerous examples of this type of makara torans in various parts
of the country both in their sculpture as well as their paintings. With regard
to the latter Dr. Senaka Bandaranaike in his book Rock and Wall Paintings comments
thus; "a three dimensional rendering often similar in scope to the panel
compositions as contributing one of the most complex achievements of polychrome
Kandyan sculpture" (p. 116). With regard to an image at Madawal, the same
author on p.117 states that the chamber is dominated by "diminutive makara
torana of painted and carved wood in the centre of which is placed a seated
Buddha image.... the makara torana itself has the usual triple dragon arch
with the makara resting on throna like brackets supported by dwarfs... The
entire makara torana conception combines two and three dimentional representation
and vertical and planar perspective." The writer finally concludes that
a "complex
cosmological symbolism is expressed in a remarkable combination of economy
and elaboration."
Apart from the makara torans the makara has also been adopted to adorn
balutrades
of the stairs leading to a vihara
. There are considerable differences in these
sculptures as the
makara balutrades
have on the sides of the wall on which
they are resting different illustrations of other carvings as well. Thus on
the
balustrade
at the vihara at
Lankatilaka
at
Polonnaruwa
on the space between
the extended tongue of the makara and the ground panel is the carving of a lion
seated on its hind legs while backing the pilaster on which the makara is resting.
In a publication on Anuradhapura issued by the Archeological Department in
1964 is the picture of the remains of a
balustrade
discovered among the ruins
on the north of Anuradhapura. In this
balustrade
on the outside below the extended
tongue of a makara is a complete scene of a vihara building, a cave, animals
such as monkeys, mongoose, deer, cobras, men and women and birds as well as
trees carved. Similar
makara balustrades
appear in many other places such as
the
Dalada Maligawa
,
Thuparama
,
Ruwanweliseya
,
Abhyagiri
,
Jetawana Vihara
as
well as Mayurapada Pirivena and Toluwila Ruins, but it is not possible in a
short account of this nature to give more details about their contents.
The legend of makara is related by M. D. Raghavan in his book, The Karava
of Ceylon, Society and Culture. According to him the story is popularly sung
in verse form among the Ammanai. In this story King Aditi is described as a
scion of Kurukula, a branch of the Chandrakula, the most illustrious of the
Chandra races as sung by the ancient bards.
The central theme of the story is the glorification of makara as the symbol
of the Kurukula races. It is a composite animal, a concept of early cultures,
a symbol of creative power, a symbol of "Sakti". "It has the
head of a crocodile, the horns of a goat, the body of an antelope or deer, a
curved tail like that of a snake with the head of a fish and feet like those
of a panther or a dog, with two horns on the forehead, its sides and bloated
belly covered with leopard like spots, it is like nothing on earth." Raghavan
further states "The makara embodies in its combination the fundamental
symbolism of Traditional Psychology. It is symbolic of the Five Elements. In
so far as it belongs to the Element Earth, it is like a creeping snake. In so
far as it belongs to the Element Water, it is like a fish. In so far as it belongs
to the Element Fire, it is panther like. In so far as it belongs to the Element
Air, it is like a deer or a mountain goat. Extending this to the four elements
of manifestation, the nature of the makara is of a composite dragon.
Raghavan also states further that Varuna alone has subjected it properly and
makara is the vehicle of Varuna, the Heavenly Father and Spiritual Ruler of
the world. According to Ananda Coomaraswamy (Yaksas-1931) the makara is the
great Leviathan moving in the waters and is obviously a symbol of the waters
as will appear from its association more specifically of the essence, the principle
of life.
With regard to the appearance of the makara symbol appearing on the flag of
Kama, Raghavan states that it could lead to two interpretations depending on
the application of the symbolism "alternatively to the desire which works
its way in the world of Sansara, or to the desire which animates the soul in
the path of return to God-reality."
L. T. P. Manju Sri has shown in the sketch reproduced above, the many forms
local artists have shows in their paintings at different places. Sketch No.
1 the artist is unkown; sketch No. 2 is from the Kettarama Vihara in Bibile;
No. 3 is from the dana sala of the outer cella of Sunandarama Vihara in Ambalangoda;
No. 4 is from the outer cella of the Viharamulla Vihara, in Bibillegama (18th
Century) and No. 5 is from Timbiri Vihara, Monaragala and No. 6 from the audience
hall of Palkumbura Vihara (18th Century).
It could be noted that no two sketches have any close resemblance to each
other so that it would be evident that each one of these artists acted on his
own conception of the Makara.
by R. C. de S. Manukulasooriya
The Island
Created : September 4, 2009
Updated :
September 6, 2009
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