Pulligoda Galge Frescoes

Passing the Dimbulagala temple, the only landmark being a water tank at which point you tum to the left and continue on an unsealed road which passes the delightful Hitcha Pitcha wava (weva is a reservoir), another turn off which is almost at the foot of a rocky outcrop. A short climb up and through jungle and rock boulders brings to this forgotten fresco considered to be an important milestone in the history of the artistic heritage of Sri Lanka.

Dr Raja de Silva (former Archaeological Commissioner of Sri Lanka), in a study of early period paintings from 247 BCE to 800 BC, defines several of the characteristics and elements of the Pulligoda Galge frescoes. He describes that the male figures depicted here have reached a stage of attainments; Sovan, Sakaurdagami, Anagami or Arahath as signified by the oval aura shaded red behind each head. The saintly figures are all seated with their legs crossed. The soles are painted red with cosmetics, like the palms. The lower garments are pantaloons of plain red or stripes reaching down to the ankle. Their headdresses 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, bracelets are also worn. One figure is green in complexion. The asana (seats) on which the lotus cushions are placed is ornamented. Only a small fragment was all that remained to be admired; it radiated a state of spirituality, serenity and peace that these forest hermits would have enjoyed. It speaks of elegance, refinement, poise and beauty. One figure held a lotus bud by the stalk while the left arm was folded across the chest in a charming gesture of offering. The others seem to hold their palms together gracefully.

Pulligoda brings to mind the paintings in Sigiriya, implying that the artists at both sites were of the same conservative school of temple painting.

(Heritage Lanka by Neil Kiriella 2017, P126)

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Pulligoda Galge Frescoes

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