Sigiriya (The Lion Rock) – Palace and Fortress in The Sky
Sigiriya or Sinhagiri (Lion Rock ) is an ancient rock fortress located in the northern Matale District near the town of Dambulla in the Central Province, Sri Lanka. The name refers to a site of historical and archaeological significance that is dominated by a massive column of rock nearly 200 meters (660 ft) high.
According to the ancient Sri Lankan chronicle the Chulavansha, this site was selected by King Kashyapa (477 – 495 AD) for his new capital. He built his palace on the top of this rock and decorated its sides with colorful frescoes. On a small plateau about halfway up the side of this rock he built a gateway in the form of an enormous lion. The name of this place is derived from this structure — Sīnhāgiri, the Lion Rock (an etymology similar to Sinhapura, the Sanskrit name of Singapore, the Lion City).
The capital and the royal palace were abandoned after the king’s death. It was used as a Buddhist monastery until the 14th century. Sigiriya today is a UNESCO listed World Heritage Site. It is one of the best preserved examples of ancient urban planning.
Lal Srinivas and Mirando Obesekara described Sigiriya as a post-historical archeology turning point of King Ravana. According to them, Sigiriya may be the Alakamandava (City of the Gods) that was built up before 50 centuries ago by King Kuvera who was the half-brother of Ravana (Ravan) as described in the Ramayanaya.
According to the Palm Leaf Book (Puskola Potha) of Ravana Watha (about Ravana) the architect of the Sigiriya was a Danava called Maya Danava. He built up Sigiriya on the instructions given by King Visthavasa (Vishravasamuni) the father of Ravana. During that period the Sigiriya was called Alakamandava and during the period of King Kuwera it was called Cithranakuta. After the death of Ravana, Vibeeshana became the king and he shifted the kingdom to Kelaniya. As per this book, Chiththaraja had used Alakamandava as his residence. Chiththaraja was a relation of Vibeeshana and a Patrician of Yakka. It was also stated that Chiththaraja was one of the individuals who helped Prince Pandukabhaya to get the kingship. Parents of Pandukabhaya were descended from the tribe of Chiththaraja.
In addition, Ravana Watha was also described that Prince Kassapa who was the son of King Daathusena has selected the Chithrakuta as his residence due to the fact that her mother was a follower of Yakka belief and also she descended from them. King Kassapa was the only king who did reconstruction and maintained the Chiththakuta as done by the king Ravana. The famous wall paintings in the Chiththakuta ( Later Sigiriya ) can be treated as displaying about the Sinhala Land i.e. Sri Lanka. The Ravana Watha explains that the picture of blue coloured lady represents the Yakka Tribe and other ladies represent the Tribes of Nāga (Serpentine), Deva (Divine) and Gandabhbha (Celestial Musicians) and the beautiful flowers show the unity of the country.
The environment around the Sigiriya may have been inhabited since prehistoric times. There is clear evidence that the many rock shelters and caves in the vicinity were occupied by Buddhist monks and ascetics from as early as the 3rd century BCE. The earliest evidence of human habitation at Sigiriya is the Aligala rock shelter to the east of Sigiriya rock, indicating that the area was occupied nearly five thousand years ago during the Mesolithic Period.
Buddhist monastic settlements were established during the 3rd century BCE in the western and northern slopes of the boulder-strewn hills surrounding the Sigiriya rock. Several rock shelters or caves were created during this period. These shelters were made under large boulders, with carved drip ledges around the cave mouths. Rock inscriptions are carved near the drip ledges on many of the shelters, recording the donation of the shelters to the Buddhist monastic order as residences. These were made in the period between the 3rd century BCE and the 1st century CE.
In 477 CE, Kashyapa I, the king’s son by a non-royal consort, seized the throne from King Dhatusena, following a coup assisted by Migara, the King’s nephew and army commander. The rightful heir, Moggallana, fearing for his life, fled to South India. Afraid of an attack by Moggallana, Kashyapa moved the capital and his residence from the traditional capital of Anuradhapura to the more secure Sigiriya. During King Kashyapa’s reign (477 to 495 CE), Sigiriya was developed into a complex city and fortress. Most of the elaborate constructions on the rock summit and around it, including defensive structures, palaces, and gardens, date from this period.
The Chulavansha describes King Kashyapa as the son of King Dhatusena. Kashyapa murdered his father by walling him up alive and then usurping the throne which rightfully belonged to his half-brother Moggallana, Dhatusena’s son by the true queen. Moggallana fled to India to escape being assassinated by Kashyapa, but vowed revenge. In India he raised an army with the intention of returning and retaking the throne of Sri Lanka, which he considered to be rightfully his. Expecting the inevitable return of Moggallana, Kashyapa is said to have built his palace on the summit of Sigiriya as a fortress as well as a pleasure palace. Moggallana finally arrived, declared war, and defeated Kashyapa in 495 CE. During the battle Kashyapa’s armies abandoned him and he committed suicide by falling on his sword.
The Chulavansha and folklore inform us that the battle-elephant on which Kashyapa was mounted changed course to take a strategic advantage, but the army misinterpreted the movement as the king’s having opted to retreat, prompting the army to abandon him altogether. It is said that being too proud to surrender he took his dagger from his waistband, cut his throat, raised the dagger proudly, sheathed it, and fell dead. Moggallana returned the capital to Anuradhapura, converting Sigiriya into a Buddhist monastery complex, which survived until the 13th or 14th century. After this period, no records are found on Sigiriya until the 16th and 17th centuries, when it was used briefly as an outpost of the Kingdom of Kandy.
Alternative stories have the primary builder of Sigiriya as King Dhatusena, with Kashyapa finishing the work in honour of his father. Still other stories describe Kashyapa as a playboy king, with Sigiriya his pleasure palace. Even Kashyapa’s eventual fate is uncertain. In some versions he is assassinated by poison administered by a concubine; in others he cuts his own throat when deserted in his final battle. Still further interpretations regard the site as the work of a Buddhist community, without a military function. This site may have been important in the competition between the Mahayana and Theravada Buddhist traditions in ancient Sri Lanka.
Archaeological Remains and Features
The Lion Gate and Climbing Stretch
In 1831 Major Jonathan Forbes of the 78th Highlanders of the British army, while returning on horseback from a trip to Pollonnuruwa, encountered the "bush covered summit of Sigiriya". Sigiriya came to the attention of antiquarians and, later, archaeologists. Archaeological work at Sigiriya began on a small scale in the 1890s. H.C.P. Bell was the first archaeologist to conduct extensive research on Sigiriya. The Cultural Triangle Project, launched by the Government of Sri Lanka, focused its attention on Sigiriya in 1982. Archaeological work began on the entire city for the first time under this project. There was a sculpted lion's head above the legs and paws flanking the entrance, but the head collapsed years ago. Sigiriya consists of an ancient citadel built by King Kashyapa during the 5th century. The Sigiriya site contains the ruins of an upper palace located on the flat top of the rock, a mid-level terrace that includes the Lion Gate and the mirror wall with its frescoes, the lower palaces located behind the lavish lower gardens, and moats and ramparts which protected the citadel. The site was both a palace and a fortress. The upper palace on the top of the rock includes cisterns cut into the rock.
Sigiriya is considered to be one of the most important urban planning sites of the first millennium, and the site plan is considered very elaborate and imaginative. The plan combined concepts of symmetry and asymmetry to intentionally interlock the man-made geometrical and natural forms of the surroundings. On the west side of the rock lies a park for the royals, laid out on a symmetrical plan; the park contains water-retaining structures, including sophisticated surface/subsurface hydraulic systems, some of which are working today. The south contains a man-made reservoir; these were extensively used from the previous capital of the dry zone of Sri Lanka. Five gates were placed at entrances. The more elaborate western gate is thought to have been reserved for the royals.
John Still in 1907 wrote, "The whole face of the hill appears to have been a gigantic picture gallery... the largest picture in the world perhaps". The paintings would have covered most of the western face of the rock, an area 140 meters long and 40 meters high. There are references in the graffiti to 500 ladies in these paintings. However, most have been lost forever. More frescoes, different from those on the rock face, can be seen elsewhere, for example on the ceiling of the location called the "Cobra Hood Cave". Although the frescoes are classified as in the Anuradhapura period, the painting style is considered unique; the line and style of application of the paintings differing from Anuradhapura paintings. The lines are painted in a form which enhances the sense of volume of the figures. The paint has been applied in sweeping strokes, using more pressure on one side, giving the effect of a deeper colour tone towards the edge. Other paintings of the Anuradhapura period contain similar approaches to painting, but do not have the sketchy lines of the Sigiriya style, having a distinct artists' boundary line. The true identity of the ladies in these paintings still have not been confirmed. There are various ideas about their identity. Some believe that they are the ladies of the kings while others think that they are women taking part in religious observances. These pictures have a close resemblance to paintings seen in the Ajanta Caves in India. Subjects of the Sigiriya frescoes paintings These damsels have high foreheads shaping their faces with enticing doe eyes, a rose coloured blush on their cheeks and lips as lotus buds look down from the gallery where they reside. These lovely maidens wear blouses of the gossamer veil, the texture of which is silken cobwebs woven in the wind, seven layers of this diaphanous material is like evening dew on the grass and similar to running water.