The technology of the Dedigama Kotawehera Elephant Lamp
surprised even the white people
The technology of the Dedigama Kotawehera Elephant Five that surprised even the white nations ...
In the past, utility was the primary purpose of creating many goods. The lamp is also a utility item made in this way. A text from the Great Parinirvana regime shows how pious and devoted love man made the necessary objects for religious offerings. (Coomaraswamy Ananda 1993 (page 131)
We Sri Lankans have a great and long history dating back to ancient times. At different times, different kings ruled the country with different parts of the country as their capital. Many kings tried to make the country prosperous and at the same time built specific creations. Among the ruins we have left today are many creations that tell the world about our great history. From it we could find information about the architectural knowledge, technical skills and artistic skills of our ancestors at that time. These were found not only in the major ancient kingdoms of our country but also in other places. The village of Dedigama in the Kegalle District of the Sabaragamuwa Province also went down in history.
The villagers' attention was drawn to some burnt bricks that had been washed away during the rainy season by a mound of soil in the village of Dedigama. But they do not think this is a historic event. Archaeologists are still struggling to gather enough evidence before reaching the final conclusions about the location of the site. During the removal of the Russian tree trunks and soil on this mound, large ruins of burnt bricks emerged. The Dedigama Kotawehera Dagoba was first mentioned in 1930 by H. W. Codrington as the dagoba built at the birthplace of King Parakum I in the Mahavamsa. He also speculated that the place was the abode of King Parakramabahu the Great.
Exploration based on this view proved that the Pali version of Dedigama is the Punka village in the Chula dynasty, the birthplace of King Parakramabahu the Great.
The Department of Archaeology commenced excavations at this dagoba in the year 1952 and found many valuable antiquities in the treasury of the dagoba. Meanwhile, many old coins were also found. The fact that the coins belong to the reign of Parakramabahu confirms that the Sutighara Dagoba is associated with King Parakramabahu. It was also clear that it was created during the Polonnaruwa period.
Among these artefacts was a world-famous creation. That is, the bronze ivory lamp, a combination of hydrostatics and aesthetics. It's amazing to be here. The scientific, technical and artistic ability of our ancient craftsmen can be measured through the design and functionality of this unique lamp. The fact that one of the two ivory lanterns of our ancient craftsmen, who emerged from the Sutighara Dagoba centuries later, is still in operation today is a good example to prove the above.
The use and technology of the ivory lamp
Known as the 'Elephant Lamp' because it was based on an ivory statue, this creation revealed to the world our cultural heritage and artistic skills as well as our technological prowess.
The two ivory lamps of Dedigama, which function according to immovable hydrology, are identical in form. But one lamp still works well today, astonishing onlookers. It is unique in terms of functionality and decoration. This ivory lamp is currently housed in a permanent exhibition stall at the Colombo National Museum dedicated to the heritage of bronze sculpture in Sri Lanka.
Lamps have been used to illuminate Sri Lanka as well as other parts of the world since time immemorial. The lamps were designed in different shapes and sizes. Many of these lamps were designed to illuminate lampshades soaked in oil that were placed on the lampstand.
There have been instances where designers have tried to show some variation in this method. Such is the ivory lamp found in Dedigama. It occupies a special place among other lamps due to its innovative functionality and the uniqueness of its design methods.
Looking at the performance of another lamp, the lamp goes out when the amount of oil applied to it is exhausted. Then put the oil back into the lamp. But the designer used a tactic to keep the bronze ivory lamp found in Kotawehera lit for a long time. The Dedigama Elephant Lamp has a scientific method of storing a certain amount of oil in the lamp and automatically adding oil to the lamp plate when the lamp plate runs out of oil.
Simple technology was used for this lamp design. The ivory lamp is a statue of an elephant designed to store oil. The belly of the elephant is used as an oil tank. A hole about 5 inches long is used in the front right leg to fill the elephant's abdomen with oil. The legs of the elephant are turned upwards and oil is pumped into the abdomen through the hole. The oiled ivory is placed on a circular platform in the center of the lamp stand at the base. The lamp stand is also filled with oil before the ivory is placed.
When placing the elephant figure on the oil-filled tray, the hole in the front right foot mentioned earlier is also covered with oil. As a result, there is no possibility of air entering the abdomen and the abdominal oil does not leak back. Second, curtains are placed on the lamp tray and the lamps are lit. In this way the lamp oil gradually decreases. In one case, a hole was drilled in the front right foot of the elephant. There, air enters the elephant's abdomen through the hole, causing the oil in the abdominal tank to compress due to the air pressure. There, air enters the elephant's abdomen through the hole, causing the oil in the abdominal tank to compress. What happens there is that the oil flows into the lamp tray like urine from a male penis in the abdomen of an elephant that has been pushed into the air. The spill stops after the oil in the front right foot has filled to the point where it closes. This process takes place as long as there is eight ounces of fat stored in the abdomen. This scientific theory is called static hydrodynamics.
The artistic value of the Elephant Lamp
It is clear from the antiquities found so far that many of the creations created by our ancient craftsmen are artistic. They even carved and decorated the steps leading to a building.
The craftsman of the Dedigama Elephant Lantern who went through it also drew attention to the artistic aspect of the ivory lamp design. The human figures, animal figures, and other ornaments attached to the lamp were also carefully studied. The artist has skillfully sculpted the living form of an elephant. It can be said that it was created by a careful study.
The elephant has a chain around its neck and 2 chains on either side above the back. Two bells were hung on the two chains. Hoin has taken a cane. Two elephant herders on the backs of the first five lamps in the Colombo National Museum, which are currently prominent among the Dedigama lamps. Those human figures are very skillfully sculpted. Depending on the utility of the lamp, the craftsman has to place the elephant's feet directly on the flat surface, considering the functionality of the lamp.
The ivory base of the lamp and the base used as the lamp are very similar to the base made for the Polonnaruwa period statues. Almost all of these deities are often placed on a circular base. The upper part used for lighting is larger than the base of the lamp.
Dedigama lamps are designed with more tact and imagination than the functionality of such lamps found in other countries. It must be acknowledged that ivory lamps are a masterpiece made by our own craftsmen because of their antiquity and the skill of our ancient craftsmen. From those lamps the astonishing aesthetics with the expertise of the forerunner and the mature craftsmanship show the technical knowledge of the metallurgical industry, the understanding of the basic principles of immovable hydrology.
The ivory lamp is a small procession. It has a bottom that can be hung as well as non-hanging. There is a chain to hang. A hook snake hanging from the end of that chain. Then a few chain links. After that, the first talampota player is the talam vaya. From there back to the chain link. Then again a drummer. He plays a trumpet or a drum. Again the chain link from there. Then a dancer dances. The dragon pantheon is then found at the end of the chain links. The top of the dragon pantheon is connected by a chain. Two lions standing on either side of the dragon pantheon. Their hands are in the sky. On their heads were two dragons, and flames came out of their mouths. Those flames meet together. It forms a semicircle. There is an elephant under the beautiful pandal. The elephant is adorned with all kinds of ornaments. The mahout on the elephant is holding a hook in his hand and the end of the hoop is entangled in a chain on the elephant's forehead. The elephant does not move and stands among the pandals. That lamp is in the center
.
This is the highest point of our ancient technology. This is the ancient hydro statics that show the world our ability to manipulate the materials we possess. Here is something special to know. The artist who created this in the twelfth century is said to be a physicist. He insisted that something needed a force to move and thus kept the fluid stationary when not in force. He also knew that when the air moves from high to low, power is gained.
So you can share this knowledge with other friends. All you have to do is share this article on as many social networks as possible on Facebook, Instagram, whatsapp, twitter.
--- I am Omesh Chamara ---
In the past, utility was the primary purpose of creating many goods. The lamp is also a utility item made in this way. A text from the Great Parinirvana regime shows how pious and devoted love man made the necessary objects for religious offerings. (Coomaraswamy Ananda 1993 (page 131)
We Sri Lankans have a great and long history dating back to ancient times. At different times, different kings ruled the country with different parts of the country as their capital. Many kings tried to make the country prosperous and at the same time built specific creations. Among the ruins we have left today are many creations that tell the world about our great history. From it we could find information about the architectural knowledge, technical skills and artistic skills of our ancestors at that time. These were found not only in the major ancient kingdoms of our country but also in other places. The village of Dedigama in the Kegalle District of the Sabaragamuwa Province also went down in history.
The villagers' attention was drawn to some burnt bricks that had been washed away during the rainy season by a mound of soil in the village of Dedigama. But they do not think this is a historic event. Archaeologists are still struggling to gather enough evidence before reaching the final conclusions about the location of the site. During the removal of the Russian tree trunks and soil on this mound, large ruins of burnt bricks emerged. The Dedigama Kotawehera Dagoba was first mentioned in 1930 by H. W. Codrington as the dagoba built at the birthplace of King Parakum I in the Mahavamsa. He also speculated that the place was the abode of King Parakramabahu the Great.
Exploration based on this view proved that the Pali version of Dedigama is the Punka village in the Chula dynasty, the birthplace of King Parakramabahu the Great.
The Department of Archaeology commenced excavations at this dagoba in the year 1952 and found many valuable antiquities in the treasury of the dagoba. Meanwhile, many old coins were also found. The fact that the coins belong to the reign of Parakramabahu confirms that the Sutighara Dagoba is associated with King Parakramabahu. It was also clear that it was created during the Polonnaruwa period.
Among these artefacts was a world-famous creation. That is, the bronze ivory lamp, a combination of hydrostatics and aesthetics. It's amazing to be here. The scientific, technical and artistic ability of our ancient craftsmen can be measured through the design and functionality of this unique lamp. The fact that one of the two ivory lanterns of our ancient craftsmen, who emerged from the Sutighara Dagoba centuries later, is still in operation today is a good example to prove the above.
The use and technology of the ivory lamp
Known as the 'Elephant Lamp' because it was based on an ivory statue, this creation revealed to the world our cultural heritage and artistic skills as well as our technological prowess.
The two ivory lamps of Dedigama, which function according to immovable hydrology, are identical in form. But one lamp still works well today, astonishing onlookers. It is unique in terms of functionality and decoration. This ivory lamp is currently housed in a permanent exhibition stall at the Colombo National Museum dedicated to the heritage of bronze sculpture in Sri Lanka.
Lamps have been used to illuminate Sri Lanka as well as other parts of the world since time immemorial. The lamps were designed in different shapes and sizes. Many of these lamps were designed to illuminate lampshades soaked in oil that were placed on the lampstand.
There have been instances where designers have tried to show some variation in this method. Such is the ivory lamp found in Dedigama. It occupies a special place among other lamps due to its innovative functionality and the uniqueness of its design methods.
Looking at the performance of another lamp, the lamp goes out when the amount of oil applied to it is exhausted. Then put the oil back into the lamp. But the designer used a tactic to keep the bronze ivory lamp found in Kotawehera lit for a long time. The Dedigama Elephant Lamp has a scientific method of storing a certain amount of oil in the lamp and automatically adding oil to the lamp plate when the lamp plate runs out of oil.
Simple technology was used for this lamp design. The ivory lamp is a statue of an elephant designed to store oil. The belly of the elephant is used as an oil tank. A hole about 5 inches long is used in the front right leg to fill the elephant's abdomen with oil. The legs of the elephant are turned upwards and oil is pumped into the abdomen through the hole. The oiled ivory is placed on a circular platform in the center of the lamp stand at the base. The lamp stand is also filled with oil before the ivory is placed.
When placing the elephant figure on the oil-filled tray, the hole in the front right foot mentioned earlier is also covered with oil. As a result, there is no possibility of air entering the abdomen and the abdominal oil does not leak back. Second, curtains are placed on the lamp tray and the lamps are lit. In this way the lamp oil gradually decreases. In one case, a hole was drilled in the front right foot of the elephant. There, air enters the elephant's abdomen through the hole, causing the oil in the abdominal tank to compress due to the air pressure. There, air enters the elephant's abdomen through the hole, causing the oil in the abdominal tank to compress. What happens there is that the oil flows into the lamp tray like urine from a male penis in the abdomen of an elephant that has been pushed into the air. The spill stops after the oil in the front right foot has filled to the point where it closes. This process takes place as long as there is eight ounces of fat stored in the abdomen. This scientific theory is called static hydrodynamics.
The artistic value of the Elephant Lamp
It is clear from the antiquities found so far that many of the creations created by our ancient craftsmen are artistic. They even carved and decorated the steps leading to a building.
The craftsman of the Dedigama Elephant Lantern who went through it also drew attention to the artistic aspect of the ivory lamp design. The human figures, animal figures, and other ornaments attached to the lamp were also carefully studied. The artist has skillfully sculpted the living form of an elephant. It can be said that it was created by a careful study.
The elephant has a chain around its neck and 2 chains on either side above the back. Two bells were hung on the two chains. Hoin has taken a cane. Two elephant herders on the backs of the first five lamps in the Colombo National Museum, which are currently prominent among the Dedigama lamps. Those human figures are very skillfully sculpted. Depending on the utility of the lamp, the craftsman has to place the elephant's feet directly on the flat surface, considering the functionality of the lamp.
The ivory base of the lamp and the base used as the lamp are very similar to the base made for the Polonnaruwa period statues. Almost all of these deities are often placed on a circular base. The upper part used for lighting is larger than the base of the lamp.
Dedigama lamps are designed with more tact and imagination than the functionality of such lamps found in other countries. It must be acknowledged that ivory lamps are a masterpiece made by our own craftsmen because of their antiquity and the skill of our ancient craftsmen. From those lamps the astonishing aesthetics with the expertise of the forerunner and the mature craftsmanship show the technical knowledge of the metallurgical industry, the understanding of the basic principles of immovable hydrology.
The ivory lamp is a small procession. It has a bottom that can be hung as well as non-hanging. There is a chain to hang. A hook snake hanging from the end of that chain. Then a few chain links. After that, the first talampota player is the talam vaya. From there back to the chain link. Then again a drummer. He plays a trumpet or a drum. Again the chain link from there. Then a dancer dances. The dragon pantheon is then found at the end of the chain links. The top of the dragon pantheon is connected by a chain. Two lions standing on either side of the dragon pantheon. Their hands are in the sky. On their heads were two dragons, and flames came out of their mouths. Those flames meet together. It forms a semicircle. There is an elephant under the beautiful pandal. The elephant is adorned with all kinds of ornaments. The mahout on the elephant is holding a hook in his hand and the end of the hoop is entangled in a chain on the elephant's forehead. The elephant does not move and stands among the pandals. That lamp is in the center
.
This is the highest point of our ancient technology. This is the ancient hydro statics that show the world our ability to manipulate the materials we possess. Here is something special to know. The artist who created this in the twelfth century is said to be a physicist. He insisted that something needed a force to move and thus kept the fluid stationary when not in force. He also knew that when the air moves from high to low, power is gained.
So you can share this knowledge with other friends. All you have to do is share this article on as many social networks as possible on Facebook, Instagram, whatsapp, twitter.
--- I am Omesh Chamara ---