Re: Dalada Hevisi Mp3 Free Download
Roser Blazado
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The horanǟva is a quadruple-reed oboe. See the detail image for a side-by-side comparison of a quadruple reed and the more familiar double reed. The reed is comprised of cane and thread, the latter of which doubles to shape the reed and act as a ligature. A copper staple (tube) is built into the body of the instrument abutting a lip plate. The wooden body (can also be made from ivory; see second gallery image for another horanǟva with an ivory body) tapers outwards as it extends towards a brass bell attached at the bottom. A line of seven equidistantly-spaced fingerholes runs down the length of the body. A decorative pattern of etched rings adorns the body and bell.
To produce a sound, the musician cups his lips around the reed creating a seal up against the lip plate. By blowing through the reed, its blades are excited into a concussive motion, the frequency of which determines the pitch of a note. The player may then manually shorten or lengthen the reedpipe by opening or closing its fingerholes. The horanǟva has a high, penetrating sound due to the timbre of the quadruple-reed (watch and listen to the video clip). The lowest note produced is always near A4. A horanǟva player will embellish a series of set, skeletal melodic patterns and is the only melodic instrument in the hevisi (temple band).
The horanǟva most likely travelled to Sri Lanka from mainland Southeastern Asian and is ostensibly the Sinhalese quadruple reed version of the Indian sahnai, reengineered with indigenous materials as evidenced by contemporary designs.
Each of the musicians is in a white dhoti with a red cloth wrapped around his waist and a piece of white cloth around his head. The evening hewisi (hevisi) puja, or the musical offering to Buddha, is about to begin.
I am at Sri Dalada Maligawa, or the Temple of the Sacred Tooth Relic, at Kandy, Sri Lanka. It is a temple revered by Buddhists worldwide as it houses a priceless relic of Buddha, his left canine teeth. It is 6.15 pm, and the swelling crowds at the temple wait with bated breaths for the evening rituals to begin.
Buddhism was already flourishing in Sri Lanka; Ashoka, the Great's son Mahinda, had brought it to this island around 250 BC. Sri Lanka also had a sapling from the Bodhi Tree, Bodh Gaya, brought by Mahinda's sister, Sanghamitra.
The association of the Relic with the rulers became so strong that it was believed that whosoever had custody of the Relic ruled the country. Initially, the Relic was enshrined in the specially built Isurumuniya stupa. The Stupa still stands at Anuradhapura though the Tooth relic is not there anymore.
Some Buddhist monks, clad in saffron unstitched garments, are now visible, slowly walking towards us escorted by white-clad temple staff. The staff member in the front unlocks the silver-clad door facing us. The monks fold their hands and slowly walk through the door, which shuts behind them. The action then moves to the first floor of the temple.
Two columns of devotees on either side of the relic chamber are waiting to be led to the room. They have taken a special permit for this purpose. I spot several non-Indian devotees, possibly from Southeast Asia or Japan.
The chamber door opens, and I have a quick view of the glittering stupa-shaped gold casket containing the Relic through the door before I get pushed sideways by others eager to cast their eyes on it. It reminds me a bit of the Tirupati temple, where the darshan of Balaji is as fleeting as the one I just had.
A replica of the relic-bearing casket is placed on the head of an ornately caparisoned elephant. It is taken around in a procession around the temple area. Musicians, dancers, fire eaters, and whip crackers accompany the parade, witnessed by thousands of devotees and tourists from across the globe.
After that nano-second glimpse of the casket, I walk around the temple. A gallery shows the history of the Tooth Relic via a series of sixteen paintings. The image gallery features multiple statues of Buddha. There is a museum of sorts which displays various Buddhist memorabilia. A fascinating exhibit is the bound copy of Jataka Tales written on leaves and encased in a locked glass box.
As I walk out of the Temple premises, the drummers still play their instruments with gusto. Devotees are still streaming in. And I reflect on the sights I had just witnessed; the profound veneration of a Buddha relic, as if the devotees were in the presence of the Buddha himself!
Ambarawa is at the entrance to the Maligawa in the form of a tunnelthe entire curved surface was vibrantly adorned with colourfulpaintings. It destroyed the enchanting Sandakada Pahana (moonstone)built in keeping with the unique Mahanuwara tradition, at the entranceto the Ambarawa and damaged the granite rock pillars which were adornedwith delicate and exquisite rock carvings of intricate traditionalmotifs. Passing the Ambarava one enters the Hevisi Mandapaya (the openverandah-like area) with pillars where poojas (offering) and drummingare performed.
Besides the damages to the priceless cultural wealth that wasassociated with the Ambarawa, the blast resulted in the totaldestruction of one of the most precious items of the Maligawa - thehistoric moonstone that was found at the main entrance to the Maligawa.It was one of the few most enchanting moonstones bearing the design andshape of Mahanuwara moonstone tradition, somewhat similar to the one atthe entrance to the Degaldoruwa Vihara.
The destroyed moonstones, other rock structures have been replacedwith new ones bearing the same shape and design and theAmbarawapaintings have been re-drawn. Many ancient ola palm leafmanuscripts and delicate traditional ornaments and artifacts stored inthe Pattirippuwa octagonal building were destroyed. However, can theyever replace these invaluable historic treasures that glorified andembellished this cultural paradise of a place?
Except for some structural damages to the plasters and walls anddislodging of parts of the carved wooden ceiling structures, mostmiraculously the ancient inner relic chamber structure at the centre ofthe Maligawa building where the Sacred Tooth Relic was housed remainedintact.
When conservationists sifted through the rubble after the terroristattack, they made an unexpected discovery. Beneath the existing wallpaintings, two earlier layers of plaster with paintings were detected.Images of an elephant and a dancers leg were revealed which appears tobe a part of a wider artistic composition of a ceremonial pageant. Thispainting is attributed to the beginning of the 18th Century, to theperiod of King Narendrasinha. Fragments of these paintings are displayedtoday in the new Maligawa museum, along with pictures of the destructionwreaked by the terrorist attack.
The earliest paintings of the period of the Mahanuvara Kingdom are inthe inner chambers of the Dalada Maligawa. They were completed duringthe reign of King Wimaladarmasuriya-II (1687-1707). Other paintings inthe old Maligawa building were done during King Kirthisri Rajasinghe(1747-1786).
Passing the tunnel-like Ambarava at the entrance to the main Maligawabuilding, one enters the hevisi mandapaya or the open verandah-like areawith pillars where Poojas and drumming are performed. In front of thehevisi mandapaya is the two storeyed building where the Tooth Relic ofthe Buddha is enshrined. This was built by King Narendrasinghe who ruledfrom 1707-1739. The intricately carved wooden structures decorating theupper portion of the outer walls of the two storeys also containexceptionally captivating paintings. Some of these paintings were doneon plaster applied over wooden surfaces.
On the walls and ceilings of both floors of this building arepaintings, which are exquisite. The wooden structures of the upperportions of the outer walls of the two storeys are decorated withintricate carvings. Paintings found in these structures areexceptionally captivating. Some of these paintings were done on plasterapplied over wooden surfaces.
Most of the Maligawa paintings are elaborate thematic or decorativeones. Those decorating the walls and ceiling of the inner relic chamberare most breathtaking. There are paintings of beautiful designs usinghuman figures, animals, birds and flowers. Some are found on the carvedwooden ceiling structures associated with the Relic Chamber. Among someespecially appealing paintings found here are those depicting KingWimaladarmasuriya-I (1591-1604), King Kirthisri Rajasinghe, WeliwitaSaranankara thera, jataka tales and the Esala Perahera. Paintings of theSuvisi Vivarana or the 24 former Buddhas, deities and heavenly beingsare gorgeous. A particularly striking painting in one of the Shrinerooms with a Buddha image is a stunning Makara Thorana which is a greatwork of art.
Modern paintings of Upasena Gunawardene are in the new MaligawaAnnex. They narrate the story of the Tooth Relic and its enshrinement inthe Maligawa. The Dalada Maligawa museum established in recent years onthe upper floor of the Maligawa Annex contains segments of the paintinglayers damaged by the bomb blast and photographs of some of the damagedoriginal paintings and parts of the paintings of several inner wallsurfaces that were exposed after as a result of the bomb blast andpeeling off of walls. Canvas replicas of some Maligawa paintings adornthe stairways leading to the Museum.
The Dalada Maligawa originally built in the late 15th Century is morethan 550 years old and was added to, expanded and improved by severalkings in the centuries that followed. This fabulous structure enshrinesthe sacred Tooth Relic of the Buddha venerated by Buddhists all over theworld. It is of utmost symbolic value for Buddhists and the nation as awhole, because from historic times the possession and custodianship ofthe Sacred Tooth Relic was tantamount to acquisition of the sovereigntyof the nation. Besides, the Dalada Maligawa is also famousinternationally for it colourful 10 day procession called the DaladaPerahera, which has an unbroken tradition extending up to the fourthCentury CE.
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