170 SPOLIA ZEYLANICA. 



the hanging tile, and frequently the lion (sinha) and the goose {hansa) 

 are shown particularly. Attention is draAvn to the bo -leaf shape, 

 heraldic lion, lotus blossoms, and palmettes, and the Kandyan eaves 

 tile from Pelenda, Kukul Korale, with face, from the palace of 

 King Vidiye Bandara, father of King Dharmapala, and also the 

 base of a clay lamp with elephants in relief. At the Dalada 

 Maligawa and the Old Palace at Kandy tiles are let into the wall, 

 with lions or geese, and painted, with very good effect as wall 

 decoration. 



There is in this case a fragment of a beautiful ornamental brick 

 from Sigiriya. The other noteworthy things in the case are the old 

 tile and ornamental clay top {kota) of a Maligawa, found at Maliga- 

 tenna in Deraniyagala , said to come from the site of the palace built 

 by Kmg Rajasinha I. in Sitawaka, 1581-1592. 



Pottery and Sinhalese Earthenware (Case 27). 



This case has some excellent examples of pauited pottery of much 

 excellence, as well as some grotesque pottery. Sinhalese potters 

 are found all over the country, but often in greater numbers in places 

 where there is a good supply of suitable clay. In the days of the 

 Sinhalese Monarchy, at the Court one of the household departments 

 was that of the potters. Potters held land on service tenures often 

 directly from the king. The potter is generally found at work in 

 the verandah of his house, and sometimes in a separate shed. Dr. 

 A. K. Coomaraswamy thus describes the potters' appliances and the 

 process of working : — 



" The potter's appliances are, as may be supposed, simple enough. 

 His wheel (poruwa) is a circular board about 2| ft. in diameter 

 mounted on a stone pivot which fits into a large stone socket 

 embedded in the gromid, the horizontal surface of the wheel itself 

 standing not more than six inches above the ground. The wheel is 

 turned by a boy who squats on the ground opposite the potter and 

 keeps it going with his hands. A lump of clay is dumped on the 

 wheel, enough for half a dozen or more pots, and they are moulded 

 one by one under the potter's hands, cut of£, and set aside to dry. 

 To finish off the rims, a strip of wet cotton is used ; with this the 

 potter smooths off the edges as the wheel turns, and pressing through 

 it with his nail he makes the little mouldings at the top. As removed 

 from the wheel the pots are bottomless, and have to dry for a few 

 hours or a day or two before they can be finished ; when they are 

 ready the potter takes a smooth stone in his left hand and a sort of 

 wooden bat {walantalana lella) in his right hand, and holding the 

 stone inside the vessel he beats and pats its sides till finally they 

 meet across the bottom ; the vessel is rubbed smooth v/ith the bat. 

 Occasionally the surface is polished by rubbing \^dth a smooth seed. 

 Any ornament required is now added and the pot is ready for the 

 fire. Firing is done in a Ioav kihi with stone sides and a dome 

 covering of wet clay and sticks. The kiln is square m plan, and has 

 thi-ee or four openings along one side for the insertion of fuel, and 

 on the other sides smaller openings for the escape of air. Long 

 sticks are used for fuel, pushed through the openings by degrees 

 as they burn away. The kiln is usually protected from the weather 

 by a rough shed." 



Some fine examples of painted Kandy pottery are exhibited. 

 These are painted with oil colours after the pots are fired. The 



