Sandakada pahana

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Sandakada pahana, also known as Moon-stone, is a unique feature of the Sinhalese

Etymology
Known in Sinhalese as sandakada pahana, it is roughly translated into English as moonstone.
The name is based on its shape and design.[2] The ancient chronicle Mahavamsa and Pali
literature such as the Samantapasadika refer to the sandakada pahana as patika.[4]

Anuradhapura period

A sandakada pahana of the Anuradhapura period

The first sandakada pahanas were created during the latter stage of the ancient Anuradhapura
Kingdom. They were only placed at entrances to Buddhist temples during this period.[5]

The carvings of the semi circular stone slab were the same in every sandakada pahana. A half
lotus was carved in the centre, which was enclosed by several concentric bands. The first
band from the half lotus is decorated with a procession of swans, followed by a band with an
intricate foliage design known as liyavel. The third band has carvings of four animals;
elephants, lions, horses, and bulls. These four animals follow each other in a procession
symbolizing the four stages in life: growth, energy, power and forbearance. The fourth and
outermost band contains a carving of flames,[5] usually interpreted as representing a fire altar.

Polonnaruwa period
The design of the sandakada pahana of the Polonnaruwa period differs largely from that of
the Anuradhapura period. The single band that was used to depict the four animals was
removed, and processions of the elephant, lion and horse were depicted in separate bands.
The most significant change is the removal of the bull from the sandakada pahana.[6] This was
because in Hinduism the bull is considered as an auspicious animal and during this time of
the history the influence of Hinduism was high in Sri Lanka. The Anuradhapura tradition of
placing sandakada pahanas only at entrances to Buddhist temples also changed, and they are
found at the entrances of other buildings belonging to the Polonnaruwa period as well.[5]

The sandakada pahana at the entrance to the Polonnaruwa Vatadage. Note the absence of the
bull and lion.

An invasion by Rajendra I in 1017 AD brought a large part of the country under the control
of the Chola empire.[7][8] The country was under Chola rule until 1055 AD,[9] and the Sri
Lankan culture was heavily influenced by South Indian customs and traditions, including the
Hindu religion.[10] Historians believe that the reason for the removal of the bull from the
sandakada pahana was because of its connection with Hinduism. The bull, the vehicle of the
god Shiva, is a venerated animal in Hinduism, and therefore was removed from the
sandakada pahana since it was a place where people tread upon.[6] The lion has also been
omitted from some sandakada pahanas.[11] The best specimen of the sandakada pahanas of the
Polonnaruwa period is at the northern entrance of the Polonnaruwa Vatadage.[12]

Kandy and Gampola periods

A sandakada pahana of the Kandy period at the Degaldoruwa Raja Maha Vihara.

By the time of the Gampola and Kandy Kingdoms, the design of the sandakada pahana had
changed drastically. The concentric bands were no longer there, and the shape of the once
semi circular stone slab had become almost triangular. A lotus was carved in the middle of
the stone slab, which was surrounded by an elaborate pattern of liyavel.[13]
Symbolism
Historians believe that the carvings of the sandakada pahana symbolise a religious meaning.
The widely accepted interpretation is that of historian Senarath Paranavithana. According to
Paranavitana, the sandakada pahana symbolises the cycle of Saṃsāra. The liyavel symbolise
worldly desires (Taṇhā) and the lotus depicts the final achievement of Nirvana.[14] The
elephant, bull, lion and horse depict birth, decay, disease and death respectively, while the
swans symbolise the distinction between good and bad.[2]

References
1.

 "The northern provinces - Henry Cave - Google Books". Retrieved 2 May 2012.
  Gaveshaka (2004-05-02). "Tradition continues: Moonstones in Polonnaruwa". Sunday
Times. Retrieved 2009-08-09.
  "Sinhalese Monastic Architecture: The Viharas of Anuradhapura - Senake
Bandaranayake - Google Books". Retrieved 2 May 2012.
  "Buddhist Art". The Associated Newspapers of Ceylon. Retrieved 2009-08-09.
  Siriweera (2004), p. 288
  Siriweera (2004), p. 289
  Siriweera (2004), p. 45
  Wijesooriya (2006), p. 114
  Prematilleke and Karunaratne (2004), p. 6
  Siriweera (2004), p. 47
  Sarachchandra (1977), p. 129
  Prematilleke and Karunaratne (2004), p. 10
  Diganwela (1998), p. 11

14.  Diganwela (1998), p. 12

Bibliography
• Siriweera, W. I. (2004). History of Sri Lanka. Dayawansa Jayakodi & Company.
ISBN 955-551-257-4.
• Wijesooriya, S. (2006). A Concise Sinhala Mahavamsa. Participatory Development
Forum. ISBN 955-9140-31-0.
• Prematilleke, P. L.; Karunaratne, L. K. (2004). Polonnaruwa - The Silver Capital of
Sri Lanka. ISBN 955-613-111-6.
• Sarachchandra, B. S. (1977). අෙ සං කෘ ක උ මය (Cultural Heritage) (in
Sinhala). Silva, V. P.
• Diganwela, T. (1998). කලා ඉ හාසය (History of Art) (in Sinhala). Wasana
Publishers.
• Bandaranayake, Senake (1974). Sinhalese monastic architecture : the viháras of
Anurádhapura. Leiden: Brill. ISBN 90-04-03992-9.