Hanguranketha Pattini Devalaya

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The protective wall of the Hanguranketha Pattini Devalaya
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Hanguranketha is home to two significant devalayas (shrines) that once enjoyed royal patronage from the kings who used this historic town as a primary or secondary royal residence. The foremost among them is the Vishnu Maha Devalaya, followed by the revered Pattini Devalaya. Though smaller in size, the Pattini Devalaya is equally sacred and is believed to be as old as the Vishnu shrine.

The origins of the Hanguranketha Pattini Devalaya are unclear, but historical records confirm its existence during the reign of King Rajasinghe II (1635–1687), who is known to have renovated the shrine.

One of the most important and credible historical references to Pattini worship in Hanguranketha comes from the Mandarampura Puwatha, a poetic chronicle. According to this text, during the reign of King Parakramabahu II (1236–1270 CE) of the Dambadeniya Kingdom, a sacred anklet of Goddess Pattini was brought to Sri Lanka from the Chola kingdom in South India.

The Kapuralas (temple priests) who carried the anklet stopped overnight at Attanakumbura, a village in the Hanguranketha area. According to legend, the anklet became immovable, guarded by snakes that mysteriously appeared at the resting site. Interpreting this as a divine sign, King Parakramabahu II commissioned the construction of a shrine on that very spot, and worship was established under the guidance of the Chola priests.

Though the original structure of the Pattini Devalaya stood for centuries, it has been heavily modernized in recent years, resulting in the loss of much of its ancient character. Despite this, the sacred legacy of the site endures in local memory. Even today, a termite mound believed to be inhabited by guardian snakes stands within the temple premises—an enduring symbol of the miraculous origins of the shrine.

The Hanguranketha Pattini Devalaya, like many historic sites in the area, suffered significant damage following the Great Rebellion of 1818. In 1821, Dr. Davy described the aftermath:

“When we entered the country in 1815, its palace was entire, and the temples attached to it in perfect preservation. Now, hardly the ruins of the former are to be traced; and, in two or three years more, the latter will be level with the ground. Indeed, the Pattini Devale is already a ruin—and the Maha Vishnu Devale is in the act to become one… The palace owed its destruction to the natives, who set fire to it while plundering it; and the temples owe their ruin to our troops, who took up their quarters in them during the rebellion, and, on more than one occasion, defended them from enemy attacks.” (Davy, 1821, p. 441)

Vahalkada (gateway) of the Pattini Devalaya

Today, the entrance to the Pattini Devalaya is through a vahalkada (gateway), which is elevated 1.4 meters above ground level. A stone stairway leads up to this entrance, flanked by two carved stone slabs (85 x 45 cm), each depicting a raksha (demon guardian) bearing a sword. These figures resemble those found at Araththana Rajamaha Viharaya of Hanguranketha, though the artistic execution here is slightly less refined.

Inside the vahalkada, the central wall beside the main doorway holds two more embedded stone carvings. On the left is a striking relief of a mahout riding a tusker elephant (125 x 73 cm). The elephant is richly adorned with ropes crossing its body, a bell hanging beneath, and a decorative headpiece. Its trunk holds a floral branch, and the mahout carries an ankus (elephant goad).

To the right is another slab (82 x 56 cm), featuring two women engaged in a stick dance. The edge of a third figure is visible, suggesting the slab was once part of a longer piece. These slabs likely did not originate in the vahalkada, but were relocated from another part of the devalaya or elsewhere.

The main shrine of Pattini

The Verandah

The main shrine is positioned at a higher elevation directly across from the vahalkada. Its entrance is reached by three stone steps, at the base of which lies a partially carved, triangular moonstone. Measuring approximately 93 cm in width and 110 cm in length, the moonstone features a creeper motif along the outer border. At the center is a raised circular design, encircled by the traditional palapethi (lotus petal) motif.

Flanking the doorway are two fine stone carvings set into the wall of two female dancers of the Kandy period. They measure 65cm high by 74cm wide.

The Inner Chamber – Hondunkuwa

The inner chamber, known as the Hondunkuwa, located at the end of the verandah, is separated from the verandah by a partially raised half wall, though the side walls of the chamber extend all the way to the outer platform. To enter the Hondunkuwa from the verandah, there is a moonstone (sandakada pahana) placed at the base of a doorway that opens through the half wall. This moonstone features a circular design with a raised central disc, measuring 78 centimeters in width and extending 1.10 meters forward.

The outermost band of the moonstone is decorated with a motif of petal-like shapes, while the central band is adorned with a simple lotus flower design.

On either side of the doorway, embedded into the half walls, are two exquisitely carved stone panels, each depicting a female dancer (nāṭikāṅganā). These figures are nearly symmetrical and mirror each other in both posture and ornamentation.

The Third Chamber –Pewenamaduwa

The third chamber of the Vishnu Devalaya, known as the Pewenamaduwa—a name that may have evolved into Pirith Mandapaya in later times—is accessed by climbing four stone steps. These steps begin at the base of a beautifully carved moonstone (sandakada pahana). The chamber is built on a raised platform, standing about 60 centimeters higher than the adjoining Hondunkuwa (the central prayer chamber), emphasizing its elevated sanctity.

The moonstone is circular, measuring 1 meter in width and 80 centimeters in length, and features a central band adorned with petal-like carvings, a motif often symbolizing purity and spiritual blossoming.

Flanking the base of the steps and integrated into the platform’s front wall are two intricately carved stone panels. Each panel portrays a female figure holding a flower, captured in a graceful pose of offering. These sculptures not only enhance the aesthetic appeal of the platform but also carry deep symbolic significance, reflecting themes of devotion and ritual purity

A small Kali Kovil has been built behind the Pattini Devalaya. The ehelageya of the latter is situated on the northwest. To the southeast is the mulutengeya, and the two rooms for pounding paddy and storage.

Recognizing the historical and cultural value of the site, the Department of Archaeology has designated the Pattini Devalaya building, its kitchen, the vahalkada, and the protective boundary wall as protected monuments.

Ancient stone carvings of Hanguranketha Pattini Devalaya

Ancient moonstones of Hanguranketha Pattini Devalaya

References

Davy, J. (1821). An Account of the Interior of Ceylon and of Its Inhabitants, With Travels in That Island. Longman. Hurst, Rees, Orme and Brown.
Deraniyagala, S. U. (1996). Administration Report of the Archaeological Commissioner for the year 1996. Department of Archaeology.
Dissanayake, S. B. (1997). දියතිලක නුවර : පැරණි ස්මාරක හා ස්ථාන. Department of Archaeology, Sri Lanka.

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