Volume 03 Issue 01
H. Tharanga Sampath Disanayake University of the Visual and Performing Arts
Correspondence: – tharangadissanayake86@gmail.com
Submitted: July, 08, 2025; Revised: November, 10, 2025; Accepted: December, 09, 2025
ABSTRACT: Manipuri dance, one of India’s eight classical dance forms, is deeply rooted in the cultural, mythological, and socio religious fabric of Manipur, a northeastern state of India. This dance tradition, shaped by regional festivals, religious practices, and historical events, has evolved over centuries. Its distinct characteristics, particularly its spiritual connections, make it a significant component of the Manipuri people’s cultural identity. Beyond being an art form, Manipuri dance reflects the community’s religious and social dynamics. The main objective of this paper is to explore the cultural, mythological, and festival based contexts that have contributed to the development and preservation of Manipuri dance. By examining these factors, the study seeks to understand how Manipuri dance evolved into one of India’s classical dance forms. Despite its rich history, the relationship between Manipuri dance and the socio-cultural contexts that shaped it remains underexplored. This paper addresses this gap, focusing on the influence of mythology, rituals, and festivals, as well as the dance’s role in preserving the socio religious life of the region. The study adopts a qualitative research methodology, relying on literature reviews, field observations, and analysis of historical texts and cultural documents. Key sources include scholarly articles, books, and interviews with practitioners and experts of Manipuri dance. This research provides significant academic value by deepening the understanding of the cultural and mythological foundations of Manipuri dance, thus enhancing its appreciation within the broader context of Indian performing arts. The findings highlight that Manipuri dance has been shaped by its geographical isolation, religious practices, and festival culture. Rituals and the influence of Vaishnavism have played central roles in its evolution. Ultimately, Manipuri dance stands as both an artistic expression and a spiritual reflection of the Manipuri people, remaining a vibrant aspect of India’s classical dance heritage.
Key Words: Manipuri Dance, Classical Dance Tradition,
Mythology, Socio-Cultural Context, Vaishnavism.
Journal Title: Sri Lanka Journal of Aesthetic Studies (SJAS)
Frequency of Publication: Bi Annual (January and June)
Volume : No. 03 Issue: No. 02
Page : 1- 05
ISSN (Online) : 2989-0225
Name of the Publisher: Swami Vipulananda Institute of Aesthetic Studies, Eastern University, Sri Lanka
Kamani Samarasinghe University of the Visual & Performing Arts, Sri Lanka
Correspondence:- kamani@vpa.ac.lk
Submitted: July, 30, 2025; Revised: October, 01, 2025; Accepted: October, 13, 2025
ABSTRACT: Cultural heritage both tangible and intangible items have enormous societal importance because they provide concrete links to our common history. The preservation of cultural heritage has grown in importance, offering insights into our forefathers’ practices and lifestyles and therefore increasing our understanding of history. This literature review examines the diverse array of technological tools used in cultural heritage preservation and their impact on the field. Data were collected using various academic databases, research repositories, journals, conference proceedings, and authoritative sources related to cultural heritage preservation, technology integration, and relevant disciplines. Information from selected sources were extracted and organized based on thematic categories such as digitization techniques, virtual reality applications, database systems, case studies, challenges, and future trends. Thematic analysis was used to synthesize the extracted data, identifying common themes, trends, and patterns across the literature. This literature review explored 3D technology, 3D modeling, Digital Twins, metaverse, and Virtual Reality open dynamic platforms for conservation and research, transcending geographical confines to promote cultural dialogue. The review underscores the power of structured databases in preserving intangible cultural heritage, ensuring swift access to historical knowledge across temporal divides. According to the Analysis, Digital Pompeii Project, the Smithsonian 3D Digitization Programme, and the British Museum’s VR tours showcased technology’s transformative potential. 3D models bring history to life, the Smithsonian embraces global dissemination, and the British Museum pioneer’s accessibility through VR and Google Street View. In a rapidly evolving technological landscape, the convergence of cultural heritage and technology promises boundless possibilities. From 3D digitization to metaverse environments, these tools ensure that narratives of the past remain vibrantly relevant.
KEY WORDS: Cultural heritage; Preservation; Technological tools; Technology.
Journal Title: Sri Lanka Journal of Aesthetic Studies (SJAS)
Frequency of Publication: Bi Annual (January and June)
Volume : No. 03 Issue: No. 02
Page : 1- 03
ISSN (Online) : 2989-0225
Name of the Publisher: Swami Vipulananda Institute of Aesthetic Studies, Eastern University, Sri Lanka
முனைவர் முருகு தயாநிதி
பணிப்பாளர், தமிழ்மொழித்துறை, தேசிய கல்வி நிறுவகம், இலங்கை.
Correspondence: muruguthayanithy@gmail.com
Submitted: July, 06, 2025; Revised: Novembre, 10, 2025; Accepted: December, 09, 2025
ABSTRACT: Sri Lanka is a country with a long cultural heritage. Ravana is recorded as the first Tamil king in Sri Lankan history. Notes about his rule, with Koneswaram as his capital, are available through literary sources like the Konesar Kalvettu (Konesar Inscription). Following this era, the rule of the Yakshas (Yakkhas) and Nagas took place. The Nagas ruled with Nagadeepa as their capital. The Mahavamsa clearly records the visit of the Buddha to Sri Lanka during their reign (Mahavamsa, Chapter 1). Subsequently, from the time of Vijaya’s arrival from Kalinga in the 5th century BCE, capitals such as Anuradhapura, Polonnaruwa, Jaffna, Kandy, and Colombo became centers of political power. In this sequence, Kandy became the capital. Kandy was ruled by three dynasties between 1469 and 1815 CE: the Sri Sanghabodhi dynasty, the Dinaraaja dynasty, and the Kandy Nayakkar dynasty. Except for the Nayakkar dynasty, the other two were Sinhalese rulers. However, cultural ties, such as marriages, were strong between the Nayakkar dynasty of Tamil Nadu and the Sinhalese monarchs. Due to this cultural confluence, a harmonious rule prevailed in Kandy. During this continuous reign, King Vira Narendra Sinha’s marriage did not produce any children. Since Narendra Sinha had no heirs, his wife’s brother, Sri Vijaya Rajasinghe of the Nayakkar dynasty, was crowned after him. He was followed by the Nayakkar kings Kirti Sri Rajasinghe, Rajadhi Rajasinghe, and Sri Vikrama Rajasinghe, who rooted the Nayakkar rule in Kandy. Among these kings, King Rajasinghe is praised in literature from the Tamil land of Batticaloa and in some other literary works. It is particularly noteworthy that the generic name of these kings is invoked and praised in the ‘blessing songs’ (Vaazhippadal) of the epic poetry sung during the rural deity worship ceremonies in the Batticaloa region.
Keywords: Sri Lanka, Kandy, Rural Deity Worship, Rajasinghe, Capital, Oral Songs (Oral Literature).
Journal Title: Sri Lanka Journal of Aesthetic Studies (SJAS)
Frequency of Publication: Bi Annual (January and June)
Volume : No. 03 Issue: No. 02
Page : 1- 12
ISSN (Online) : 2989-0225
Name of the Publisher: Swami Vipulananda Institute of Aesthetic Studies, Eastern University, Sri Lanka
இலங்கை, நீண்ட பண்பாட்டம்சத்தினைக் கொண்டு விளங்கும் நாடு. இலங்கை வரலாற்றின் முதல் தமிழ் மன்னனாக இராவணன் பதிவாக்கின்றான். இவன் கோணேஸ்வரத்தினைத் தலைநகரமாக்கொண்டு ஆட்சி செய்தமை பற்றிய குறிப்புகள் கோணேசர் கல்வெட்டு முதலிய இலக்கியங்களின்வழி கிடைக்கின்றன. இவ்வாறான தொடரில் இயக்கர்இ நாகர்களின் ஆட்சி இடம்பெறுகின்றது. நாகர்கள் நாகதீபத்தினைத் தலைநகராகக் கொண்டு ஆண்டுள்ளனர். இவர்களது ஆட்சியில் இக்காலத்தில் புத்தர் இலங்கை வருகின்றமை பற்றி மகாவம்சம் தௌpவூபடுத்துகின்றது. (மகாவம்சம், அத்தியாயம்: 1) பின்னர் விஜயன் கலிங்கத்திலிருந்து கி.மு.5ஆம் நூற்றாண்டு காலத்தில் இலங்கை வந்த காலந்தொடக்கம் அனுராதபுரம், பொலநறுவை, யாழ்ப்பாணம், கண்டி, கொழும்பு முதலிய தலைநகரங்கள் ஆட்சி அதிகாரம் உள்ள இடங்களாக மாற்றம்பெறுகின்றன. இவ்வாறான தொடரில் கண்டி தலைநகரமாகின்றது. கண்டியினை ஸ்ரீ சங்கபோதி வம்சம், தினராச வம்சம், கண்டி நாயக்கர் வம்சம் என மூன்று வம்சத்தினர் (கி.பி.1469 – 1815) ஆட்சி செய்தனர். கண்டி நாயக்கர் வம்சம் தவிர, ஏனைய இரண்டு பரம்பரையினரும் சிங்கள ஆட்சியாளர்களாகவே இருந்துள்ளனர். எனினும், தமிழ் நாட்டு நாயக்கர் வம்சத்தினருக்கும் சிங்கள மன்னர்களுக்கும் திருமணம் முதலிய பண்பாட்டுத்தொடர்பு மேலோங்கியிருந்திருக்கின்றன. இவ்வாறான பண்பபட்டுக் குவியத்தினால், கண்டியில் சமரச ஆட்சி நிலவி இருக்கின்றது. இத்தகைய அரசாட்சி தொடரும் காலத்தில், வீரநரேந்திரசிங்கன் செய்துகொண்ட திருமணத்தில் பிள்ளைகள் யாரும் பிறக்கவில்லை. நரேந்திர சிங்கனுக்குப் பிள்ளைகள் எவரும் இல்லாததால் அவருக்குப் பின்னர், மனைவியின் சகோதரன் நாயக்க வம்சத்தைச் சேர்ந்த ஸ்ரீ விஜயராஜசிங்கன் முடிசு+டுகின்றான். அவனைத் தொடர்ந்து கீர்த்தி ஸ்ரீ ராஜசிங்கன் இராஜாதி ராஜசிங்கன், ஸ்ரீ விக்கிரம ராஜசிங்கன் ஆகிய நாயக்க மன்னர்கள் முடிசு+டி, நாயக்கர் ஆட்சியினைக் கண்டியில் வேரூன்றச் செய்தனர். இவ்வாறான மன்னர்களில் இராசசிங்க மன்;னன் பற்றி மட்டக்களப்புத் தமிழகத்தில் எழுந்த இலங்கியங்களிலும் பிற இடங்களில் எழுந்த இலக்கியங்கள் சிலவற்றிலும் துதிக்கப்படுகின்றான். குறிப்பாக மட்டக்களப்புத் தமிழக கிராமியத்தெய்வ வழிபாடுகளின்போது, பாடப்படும் காவியப் பாடல்களின் வாழிப்பாடல்கள் பலவற்றில் இம்மன்னர்களின் பொதுப்பெயர் சுட்டிக்; துதிக்கப்படுவது கண்டுகொள்ளப்படுகின்றது.
K.K.P. Rupasinghe Ph.D Scholar,
Faculty of Graduate Studies,
Department of Languages Cultural Studies and Performing Arts,
University of Sri Jayawardenepura, Srilanka
Himalika Ranaweera
University of Sri Jayawardenepura, International Centre for Multydisciplinary Studies,
University of Sri Jayewardenepura
Correspondence:- kkp.rupasinghe@gmail.com
Submitted: July, 08, 2025; Revised: November, 07, 2025; Accepted: December, 08, 2025
ABSTRACT: The Suvisi Vivarana Nruthya Puja represents the convergence of religious devotion and artistic expression, weaving together sermons, singing, dancing, and offerings to create a profound and comprehensive religious experience within the Buddhist ritualistic tradition in Sri Lanka. It rooted in the historical accounts of the twenty-four Buddhas who prophesied the enlightenment of Gautama Buddha. Among its artistic components, the Pantheru Dance plays a prominent role, symbolizing rhythmic harmony and reinforcing the spiritual connection of the participants. The objective of this research is to explore the Cultural Synthesis of Buddhist religious practices and Suvisi Vivarana Puja, with particular emphasis on the Pantheru Dance. The problem of this research lies in identifying the extent to which the Pantheru Dance plays a role in the Suvisi Vivarana Nruthya Puja and how effectively it contributes to the preservation of Buddhist teachings and cultural heritage in Sri Lanka. The study utilized an ethnographic research methodology and employed inductive reasoning. Qualitative data were collected through participant observation and interviews with monks, dancers, and ritual performers. Additionally, textual analysis of Buddhist scriptures and historical documents was conducted. The findings underscore the significance of the Pantheru Dance, which not only enriches the ritual with its intricate movements and rhythmic expressions but also serves as a medium for venerating the Buddha’s virtues. The Suvisi Vivarana Puja emerges as a vital vehicle for transmitting Buddhist teachings, preserving Sri Lankan artistic heritage, and fostering community engagement. The inclusion of Pantheru dance to the chanting of vivarana verses exemplifies the role of performance in conveying complex spiritual ideas to the general populace. This tradition serves as a medium for fostering deeper faith in the Buddha’s teachings but also strengthens the connection between the Buddhist community and their religious heritage. This ritual helps to make profound Buddhist teachings more accessible and relatable to the devotees. The study highlights the need for further interdisciplinary research to preserve, document, and promote this rich and evolving heritage in a rapidly changing socio-cultural.
KEY WORDS: Buddhist Teachings, Community Cohesion, Cultural Preservation, Pantheru Dance, Suvisi Vivarana Nruthya Puja
Journal Title: Sri Lanka Journal of Aesthetic Studies (SJAS)
Frequency of Publication: Bi Annual (January and June)
Volume : No. 03 Issue: No. 02
Page : 1- 06
ISSN (Online) : 2989-0225
Name of the Publisher: Swami Vipulananda Institute of Aesthetic Studies, Eastern University, Sri Lanka
K A D Ranga Perera
Senior Lecturer,
Department of North Indian Music, Faculty of Music Visual & Performing Arts University,
Colombo – Sri Lanka
R K Sharma
Teacher in Charge – Tabla ,Ma Shardha Music Institute,
Bilaspur India
Correspondence:- ranga.p@vpa.ac.lk
Submitted: June, 10, 2025; Revised: November, 09, 2025; Accepted: December, 10, 2025
ABSTRACT:This study examines the significant role of courtly patronage in the evolution and expansion of the Tabla repertoire in North India after the 15th century. With the rise of royal courts, particularly during the Mughal era and subsequent regional powers, the Tabla transitioned from its Pakhawaj origins to become the dominant percussion instrument in Hindustani classical music. This transformation was driven by the changing musical styles favored in courts, such as the shift from dhrupad to khayal, which demanded more intricate and nuanced rhythmic accompaniment. By analyzing historical texts, musicological treatises, and scholarly research, the study reveals how court environments fostered innovation in Tabla playing techniques and compositional forms. The patronage of musicians encouraged the establishment of distinct gharanas, each contributing unique stylistic and technical advancements. The interaction between Persian and indigenous musical traditions further enriched the Tabla’s repertoire by introducing diverse compositional structures such as Gats, Tukada, and Parans. Social and cultural factors within court music communities supported the oral transmission of knowledge and sustained rigorous guru-shishya teaching traditions. This royal endorsement not only enhanced the artistic development of the Tabla but also cemented its central position in North Indian classical music. Overall, the study highlights the indispensable influence of courtly patronage in shaping the Tabla repertoire, underscoring its enduring legacy in the musical culture of post-15th century North India.
KEY WORDS: Courtly Patronage, Tabla Repertoire, North India, Gharanas, Hindustani Classical Music, Post-15th Century.
Journal Title: Sri Lanka Journal of Aesthetic Studies (SJAS)
Frequency of Publication: Bi Annual (January and June)
Volume : No. 03 Issue: No. 02
Page : 1- 09
ISSN (Online) : 2989-0225
Name of the Publisher: Swami Vipulananda Institute of Aesthetic Studies, Eastern University, Sri Lanka
Dr. W.M.H.G.U. Indika Tikiri Bandara Weerakoon
University of the Visual & Performing Arts, Sri Lanka
Correspondence:- indikatikiri@gmail.com
Submitted: October, 07, 2025; Revised: November, 03, 2025; Accepted: November, 25, 2025
ABSTRACT:This study explores the cultural significance andcontemporary challenges of Pung drumming in Manipuri society.As an essential element of religious rituals, dance, and socialgatherings, Pung drumming serves as a bridge between spiritualdevotion, artistic expression, and social cohesion. The researchhighlights the drum’s central role in community events such asweddings, funerals, and festivals, where it communicates culturalnarratives and emotions through its rhythmic patterns. Despite itscultural importance, the study identifies several challengesthreatening the survival of Pung drumming, including declininginterest among younger generations, commercialization oftraditional arts, and limited formal training opportunities. Toaddress these issues, the study emphasizes the importance ofintegrating Pung drumming into formal education, promotingdigital documentation, and providing financial support for artists.Additionally, the study reveals a generational divide in theperception of Pung drumming, with older practitioners viewing itas a spiritual and cultural obligation, while younger generationsoften regard it as an optional art form. The findings suggest thatculturally responsive educational approaches are essential tomaking Pung drumming relevant to contemporary youth andensuring its sustainability. The study calls for collaborative effortsinvolving practitioners, educators, and policymakers to preserveand promote this important cultural tradition for future generations.
KEY WORDS: Pung drumming, Manipur society, Meitei culture, Sankirtana, cultural heritage, Manipuri dance.
Journal Title: Sri Lanka Journal of Aesthetic Studies (SJAS)
Frequency of Publication: Bi Annual (January and June)
Volume : No. 03 Issue: No. 02
Page : 1- 09
ISSN (Online) : 2989-0225
Name of the Publisher: Swami Vipulananda Institute of Aesthetic Studies, Eastern University, Sri Lanka