Image title: Jewellery making

English Text:

Jewellery — Jewellery making was a unique industry in the Kandyan period. Various jewels were produced for royal families, heads of state, and noblewomen. The jewellers of medieval society were organized as a separate caste. They were called 'Galladdo' and 'Navandanno'. Jewellery makers were known as 'Abharana Pattale' for kings and the nobles of society. Jewellery makers for the rest of the society were called the 'Ridi Pattale'.

Necklaces, bracelets, earrings, scarves, and hairpins made of various styles of gold and silver were worn by the women's party, and the rings and necklaces by both parties. These ornaments include intricate bird designs such as the 'Bherunda bird' and the 'Serapenda' and designs made from ordinary birds such as swans and eagles. These were called 'bird medals'. In addition, various floral and leaf designs, geometric designs such as 'Kudirikkanla', 'Arimbuwa', and gemstones were used to decorate jewellery. Since the last few kings were of South Indian descent, it is clear that the jewellery industry also had a very South Indian influence. Jewellery was also manufactured in the coastal areas of Matara and Galle, and a blend of upcountry and low country can be seen. Some of the jewellery was manufactured for export. Although the technology is local, European designs can also be seen in them.

Ear rings, Rings, Bangles, Bracelets, Hair Pin, Jewelry Box made of Tortoise shell, Necklaces, Comb made of Tortoise shell, Ornaments of official dress of a low country Arachchi, Women wearing Jewelry

Sinhala text (not proofread):

ආභරණ — මහනුවර යුගයේ ස්වර්ණාභරණ සෑදීම සුවිශේෂී කර්මාන්තයක් විය. රජ පවුල්, රාජ්‍ය ප්‍රධානීන් සහ කුලීන කාන්තාවන් සඳහා විවිධ ස්වර්ණාභරණ නිෂ්පාදනය කෙරිණ. මධ්‍යකාලීන සමාජයේ ආභරණ නිෂ්පාදනය කරන ශිල්පීහු වෙනම කුලයක් ලෙස සංවිධානය වී සිටියහ. ඔවුහු ගල්ලද්දෝ හා නවන් දන්නෝ ලෙස හැඳින්විණ. රජුන් හා සමාජයේ ප්‍රභූ යැයි සැළකෙන පුද්ගලයන් සඳහා ආභරණ තනන්නන් ආභරණ පට්ටලේ නමින් හඳුන්වනු ලැබිණ. සමාජයේ අනෙකුත් අය සඳහා ආභරණ තනන්නන් රිදී පට්ටලය නම් විය.

රන් සහ රිදී ලෝහයෙන් විවිධ විලාසිතා අනුව නිර්මාණය කරන ලද මාල වළලු, කර්ණාභරණ, සාරිකටු, කොණ්ඩා කූරු කාන්තා පක්ෂය ද මුදු සහ හවඩි කාන්තා සහ පිරිමි දෙපාර්ශ්වය විසින් ද පළඳින ලදහ. මෙම ආභරණ අතර ‛භේරුණ්ඩ පක්ෂි', 'සෙරපෙන්දා' ආදී අදූර්ත පක්ෂී මෝස්තර මෙන්ම හංසයන්, රාජාළියන් වැනි සාමාන්‍ය පක්ෂීන්ගෙන් සැදුම්ලත් මෝස්තර වේ. ඒවා 'කුරුළු පදක්කම්' යනුවෙන් හැදින්විණ. මීට අමතරව විවිධ මල්කම් හා ලියකම් මෝස්තර ද කුන්දිරික්කන්, අම්බුව වැනි ජ්‍යාමිතික මෝස්තර ද මැණික් ගල් සවි කිරීම ද ආභරණ විසිතුරු කිරීම සඳහා භාවිතා කෙරිණ. අවසන් රජවරු කිහිපදෙනා දකුණු ඉන්දියානු වංශිකයන් වූ බැවින් මෙරට ස්වර්ණාභරණ කර්මාන්තය ද බෙහෙවින් දකුණු ඉන්දියානු ආභාසය ලබා ඇති බව පැහැදිලි ය. එහෙත් මුහුදුබඩ ප්‍රදේශ ආශ්‍රිත මාතර හා ගාල්ල ප්‍රදේශවල වෙනමම ආභරණ නිෂ්පාදනය කරන ලද අතර ඒවායේ උඩරට සහ පහතරට සම්මිශ්‍රණයක් දැකිය හැකිය. ඇතැම් ආභරණ ව්දේශයන් සඳහා අපනයනය කිරීමේ අරමුණින් නිෂ්පාදනය කෙරිණි. මේවායේ තාක්ෂණය දේශීය වුවත් යුරෝපීය තාක්ෂණික ලක්ෂණ ද දැකිය හැකි වේ.

කර්ණාභරණ, මුදු, වළලු, අත් පළඳනා, කොණ්ඩා කටුවක්, ආභරණ පෙට්ටියක්, ගෙල පළඳනා, කැස්බෑ ලෙලිවලින් කරන ලද නැමි පනාවක්, පහතරට ආරච්චිවරයෙකුගේ නිල ඇඳුමකට අදාළ පළඳනා, ආභරණ පැළඳි කාන්තාවන්

Transcription:

ābharaṇa — mahanuvara yugayē svarṇābharaṇa sǣdīma suviśēṣī karmāntayak viya. raja pavul, rājya pradhānīn saha kulīna kāntāvan sandahā vividha svarṇābharaṇa niṣpādanaya keriṇa. madhyakālīna samājayē ābharaṇa niṣpādanaya karana śilpīhu venama kulayak lesa saṅvidhānaya vī siṭiyaha. ovuhu galladdō hā navan dannō lesa hændinviṇa. rajun hā samājayē prabhū yæyi sæḷakena pudgalayan sandahā ābharaṇa tanannan ābharaṇa paṭṭalē namin handunvanu læbiṇa. samājayē anekut aya sandahā ābharaṇa tanannan ridī paṭṭalaya nam viya.

ran saha ridī lōhayen vividha vilāsitā anuva nirmāṇaya karana lada māla vaḷalu, karṇābharaṇa, sārikaṭu, koṇḍā kūru kāntā pakṣaya da mudu saha havaḍi kāntā saha pirimi depārśvaya visin da paḷandina ladaha. mema ābharaṇa atara ‛bhēruṇḍa pakṣi', 'serapendā' ādī adūrta pakṣī mōstara menma haṅsayan, rājāḷiyan væni sāmānya pakṣīngen sædumlat mōstara vē. ēvā 'kuruḷu padakkam' yanuven hædinviṇa. mīṭa amatarava vividha malkam hā liyakam mōstara da kundirikkan, ambuva væni jyāmitika mōstara da mæṇik gal savi kirīma da ābharaṇa visituru kirīma sandahā bhāvitā keriṇa. avasan rajavaru kihipadenā dakuṇu indiyānu vaṅśikayan vū bævin meraṭa svarṇābharaṇa karmāntaya da behevin dakuṇu indiyānu ābhāsaya labā æti bava pæhædili ya. ehet muhudubaḍa pradēśa āśrita mātara hā gālla pradēśavala venamama ābharaṇa niṣpādanaya karana lada atara ēvāyē uḍaraṭa saha pahataraṭa sammiśraṇayak dækiya hækiya. ætæm ābharaṇa vdēśayan sandahā apanayanaya kirīmē aramuṇin niṣpādanaya keriṇi. mēvāyē tākṣaṇaya dēśīya vuvat yurōpīya tākṣaṇika lakṣaṇa da dækiya hæki vē.

karṇābharaṇa, mudu, vaḷalu, at paḷandanā, koṇḍā kaṭuvak, ābharaṇa peṭṭiyak, gela paḷandanā, kæsbǣ lelivalin karana lada næmi panāvak, pahataraṭa ārachchivarayekugē nila ændumakaṭa adāḷa paḷandanā, ābharaṇa pæḷandi kāntāvan

Transcription:

abharana — mahanuvara yugaye svarnabharana sadima suvisheshi karmantayak viya. raja pavul, rajya pradhanin saha kulina kantavan sandaha vividha svarnabharana nishpadanaya kerina. madhyakalina samajaye abharana nishpadanaya karana shilpihu venama kulayak lesa sanvidhanaya vi sitiyaha. ovuhu galladdo ha navan danno lesa handinvina. rajun ha samajaye prabhu yayi salakena pudgalayan sandaha abharana tanannan abharana pattale namin handunvanu labina. samajaye anekut aya sandaha abharana tanannan ridi pattalaya nam viya.

ran saha ridi lohayen vividha vilasita anuva nirmanaya karana lada mala valalu, karnabharana, sarikatu, konda kuru kanta pakshaya da mudu saha havadi kanta saha pirimi deparshvaya visin da palandina ladaha. mema abharana atara ‛bherunda pakshi', 'serapenda' adi adurta pakshi mostara menma hansayan, rajaliyan vani samanya pakshingen sadumlat mostara ve. eva 'kurulu padakkam' yanuven hadinvina. mita amatarava vividha malkam ha liyakam mostara da kundirikkan, ambuva vani jyamitika mostara da manik gal savi kirima da abharana visituru kirima sandaha bhavita kerina. avasan rajavaru kihipadena dakunu indiyanu vanshikayan vu bavin merata svarnabharana karmantaya da behevin dakunu indiyanu abhasaya laba ati bava pahadili ya. ehet muhudubada pradesha ashrita matara ha galla pradeshavala venamama abharana nishpadanaya karana lada atara evaye udarata saha pahatarata sammishranayak dakiya hakiya. atam abharana vdeshayan sandaha apanayanaya kirime aramunin nishpadanaya kerini. mevaye takshanaya deshiya vuvat yuropiya takshanika lakshana da dakiya haki ve.

karnabharana, mudu, valalu, at palandana, konda katuvak, abharana pettiyak, gela palandana, kasba lelivalin karana lada nami panavak, pahatarata arachchivarayekuge nila andumakata adala palandana, abharana palandi kantavan

Automated translation:

Jewelery making was a unique industry during the Kandy period. A variety of jewelery was produced for royal families, heads of state and women. In medieval society, artisans who produced jewelry were organized as a separate caste. They were known as Galladdo and Navan Dano. Jewelers for kings and people considered elite in society were known as Abharan Pattale. For others in the society, the jewelry makers were called silversmiths.

Necklaces, earrings, sarikats, hairpins designed in various styles in gold and silver metal were worn by the women's party, and rings and rings were worn by both the women's and men's parties. Among these ornaments are exotic bird motifs like 'Bherunda Pakshi', 'Serapenda' etc. as well as common bird motifs such as swans and eagles. They were called 'bird medals'. Apart from this, various floral and writing designs, geometrical designs like kundirikkan, ambuva and gemstones were also used to decorate the jewellery. As the last few kings were of South Indian descent, it is clear that the jewelery industry in this country has also been heavily influenced by South India. But in the coastal areas of Matara and Galle, jewelry was produced separately and a mixture of upland and lowland can be seen. Certain ornaments were produced for export to other countries. Although the technology of these is local, European technical features can also be seen.

Tamil text (not proofread):

ஆபரணங்கள் — கண்டிய காலகட்டத்தில் ஆபரணங்கள் தயாரிக்கும் தொழிலுக்கு அதிக முக்கியத்துவம் கொடுக்கப்பட்டிருந்தது. அரச குடும்பங்கள், அரச தலைவர்கள், உயர்குலப் பெண்கள் ஆகியோரின் பாவனைக்காக ஆபரணங்கள் தயாரிக்கப்பட்டன.

மத்திய காலகட்டத்து சமுதாயத்தில் ஆபரணங்களைத் தயாரிக்கும் தொழிலை மேற்கொள்வோர் தனியானதோர் சாதிப்பிரிவினராக இருந்து வந்துள்ளனர். அவர்களை கல்லத்தோ அல்லது நவந்தன்னோ என அழைத்தனர். அரசர்களுக்கும் சமூகத்தில் பிரபுக்கள் என இனங்காணப்பட்டவர்களுக்கும் ஆபரணங்கள் தயாரிப்பவர்களை ஆபரணப் பத்தர்கள் என அழைத்தனர். ஏனைய மக்களுக்காக ஆபரணங்கள் தயாரிப்பவர்களை வெள்ளிப் பத்தர்கள் என அழைத்தனர்.

தங்கம், வெள்ளி ஆகிய உலோகங்களால் தயாரிக்கப்பட்ட பல்வேறு அலங்கார வேலைப்பாடுகளுடனான மாலை, வளையல், தோடு, சேலை ஊசி, கொண்டைக் குச்சி ஆகிய ஆபரணங்கள் பெண்களுக்காகவும், மோதிரம், ஒட்டியாணம் போன்ற ஆபரணங்கள் ஆண் பெண் இருபாலாருக்காகவும் தயாரிக்கப்பட்டன. இந்த ஆபரணங்களில் பேருண்ட பறவை, செரபெந்தா பறவை என்னும் கற்பனைப் பறவைகளின் உருவங்களும், அன்னம், கழுகு போன்ற பறவைகள் மற்றும் வேறு பறவைகளின் உருவங்களும் அலங்காரத்திற்காகப் பொறிக்கப்பட்டன. இவற்றைப் பறவை இறுதியாக ஆட்சி செய்த ஒரு சில மன்னர்கள் இந்திய வம்சத்தைச் சேர்ந்தவர்களாக இருந்தமையால் ஆபரணத் தொழிலில் பெரும்பாலும் தென்னிந்திய சம்பிரதாயத்துடனான வேலைப்பாடுகள் காணப்பட்டன. எனினும் கடலோரப் பிரதேசங்களாகிய மாத்தறை, காலி போன்ற இடங்களில் இதனை விட வித்தியாசமான முறையில் ஆபரணங்கள் தயாரிக்கப்பட்டதுடன், அந்த ஆபரணங்களில் மலைநாடு மற்றும் தென்பகுதி ஆகிய இரு பிரதேசங்களினதும் கலப்புச் சம்பிரதாயம் தென்பட்டது. ஒரு சில ஆபரணங்கள் வெளிநாட்டுக்கு ஏற்றுமதி செய்யும் நோக்குடன் தயாரிக்கப்பட்டன. உள்நாட்டுத் தொழில்நுட்பமாக அவை இருந்த போதும் ஐரோப்பிய அலங்கார வேலைப்பாடுகளும் அங்கு காணப்பட்டன.

காதணிகள், மோதிரங்கள், வுளையல், மணிக்கட்டு ஆபரணங்கள், கொண்டை ஊசி, ஆமையோட்டினாலான ஆபரணப் பெட்டி, கழுத்து ஆபரணங்கள், ஆமையோட்டினாலான வளைந்த சீப்பு, தென்பிரதேச கிராமத்தலைவரது உத்தியோகபூர்வ ஆடைக்கான ஆபரணங்க, ஆபரணங்கள் அணிந்த பெண்கள்

Transcription:

āparaṇaṅkaḷ — kaṇṭiya kālakaṭṭattil āparaṇaṅkaḷ tayārikkum toḻilukku atika mukkiyattuvam koṭukkappaṭṭiruntatu. araca kuṭumpaṅkaḷ, araca talaivarkaḷ, uyarkulap peṇkaḷ ākiyōriṉ pāvaṉaikkāka āparaṇaṅkaḷ tayārikkappaṭṭaṉa.

mattiya kālakaṭṭattu camutāyattil āparaṇaṅkaḷait tayārikkum toḻilai mēṟkoḷvōr taṉiyāṉatōr cātippiriviṉarāka iruntu vantuḷḷaṉar. avarkaḷai kallattō allatu navantaṉṉō eṉa aḻaittaṉar. aracarkaḷukkum camūkattil pirapukkaḷ eṉa iṉaṅkāṇappaṭṭavarkaḷukkum āparaṇaṅkaḷ tayārippavarkaḷai āparaṇap pattarkaḷ eṉa aḻaittaṉar. ēṉaiya makkaḷukkāka āparaṇaṅkaḷ tayārippavarkaḷai veḷḷip pattarkaḷ eṉa aḻaittaṉar.

taṅkam, veḷḷi ākiya ulōkaṅkaḷāl tayārikkappaṭṭa palvēṟu alaṅkāra vēlaippāṭukaḷuṭaṉāṉa mālai, vaḷaiyal, tōṭu, cēlai ūci, koṇṭaik kucci ākiya āparaṇaṅkaḷ peṇkaḷukkākavum, mōtiram, oṭṭiyāṇam pōṉṟa āparaṇaṅkaḷ āṇ peṇ irupālārukkākavum tayārikkappaṭṭaṉa. inta āparaṇaṅkaḷil pēruṇṭa paṟavai, cerapentā paṟavai eṉṉum kaṟpaṉaip paṟavaikaḷiṉ uruvaṅkaḷum, aṉṉam, kaḻuku pōṉṟa paṟavaikaḷ maṟṟum vēṟu paṟavaikaḷiṉ uruvaṅkaḷum alaṅkārattiṟkākap poṟikkappaṭṭaṉa. ivaṟṟaip paṟavai iṟutiyāka āṭci ceyta oru cila maṉṉarkaḷ intiya vamcattaic cērntavarkaḷāka iruntamaiyāl āparaṇat toḻilil perumpālum teṉṉintiya campiratāyattuṭaṉāṉa vēlaippāṭukaḷ kāṇappaṭṭaṉa. eṉiṉum kaṭalōrap piratēcaṅkaḷākiya māttaṟai, kāli pōṉṟa iṭaṅkaḷil itaṉai viṭa vittiyācamāṉa muṟaiyil āparaṇaṅkaḷ tayārikkappaṭṭatuṭaṉ, anta āparaṇaṅkaḷil malaināṭu maṟṟum teṉpakuti ākiya iru piratēcaṅkaḷiṉatum kalappuc campiratāyam teṉpaṭṭatu. oru cila āparaṇaṅkaḷ veḷināṭṭukku ēṟṟumati ceyyum nōkkuṭaṉ tayārikkappaṭṭaṉa. uḷnāṭṭut toḻilnuṭpamāka avai irunta pōtum airōppiya alaṅkāra vēlaippāṭukaḷum aṅku kāṇappaṭṭaṉa.

kātaṇikaḷ, mōtiraṅkaḷ, vuḷaiyal, maṇikkaṭṭu āparaṇaṅkaḷ, koṇṭai ūci, āmaiyōṭṭiṉālāṉa āparaṇap peṭṭi, kaḻuttu āparaṇaṅkaḷ, āmaiyōṭṭiṉālāṉa vaḷainta cīppu, teṉpiratēca kirāmattalaivaratu uttiyōkapūrva āṭaikkāṉa āparaṇaṅka, āparaṇaṅkaḷ aṇinta peṇkaḷ

Transcription:

aparanangal — kandiya kalagattathil aparanangal thayarikkum thozhilukku athiga mukkiyathuvam kodukkappattirunthathu. arasa kudumbangal, arasa thalaivarkal, uyarkulap penkal agiyorin pavanaikkaga aparanangal thayarikkappattana.

mathiya kalagattathu samuthayathil aparanangalaith thayarikkum thozhilai merkolvor thaniyanathor sathippirivinaraga irunthu vanthullanar. avarkalai kallatho allathu navanthanno ena azhaithanar. arasarkalukkum samugathil pirapukkal ena inanganappattavarkalukkum aparanangal thayarippavarkalai aparanap patharkal ena azhaithanar. enaiya makkalukkaga aparanangal thayarippavarkalai vellip patharkal ena azhaithanar.

thangam, velli agiya ulogangalal thayarikkappatta palveru alangara velaippadugaludanana malai, valaiyal, thodu, selai usi, kondaig kuchi agiya aparanangal penkalukkagavum, mothiram, ottiyanam ponra aparanangal an pen irupalarukkagavum thayarikkappattana. intha aparanangalil perunda paravai, serapentha paravai ennum karpanaip paravaigalin uruvangalum, annam, kazhugu ponra paravaigal marrum veru paravaigalin uruvangalum alangarathirkagap porikkappattana. ivarraip paravai iruthiyaga adsi seytha oru sila mannarkal inthiya vamsathais sernthavarkalaga irunthamaiyal aparanath thozhilil perumbalum thenninthiya sambirathayathudanana velaippadugal kanappattana. eninum kadalorap pirathesangalagiya matharai, kali ponra idangalil ithanai vida vithiyasamana muraiyil aparanangal thayarikkappattathudan, antha aparanangalil malainadu marrum thenpaguthi agiya iru pirathesangalinathum kalappus sambirathayam thenpattathu. oru sila aparanangal velinattukku errumathi seyyum nokkudan thayarikkappattana. ulnattuth thozhilnudpamaga avai iruntha pothum airoppiya alangara velaippadugalum angu kanappattana.

kathanigal, mothirangal, vulaiyal, manikkattu aparanangal, kondai usi, amaiyottinalana aparanap petti, kazhuthu aparanangal, amaiyottinalana valaintha sippu, thenpirathesa kiramathalaivarathu uthiyogapurva adaikkana aparananga, aparanangal anintha penkal

Automated translation:

During the Kandyan period, great importance was given to the manufacture of ornaments. Ornaments were made for the use of royal families, heads of states and high caste women.

In medieval society, those engaged in the business of making ornaments were a separate caste. They were called Kallatho or Navantan. Those who made ornaments for kings and those who were recognized as nobles in the society were called Aparana Patras. Those who made ornaments for other people were called silversmiths.

Garland, bangle, necklace, saree needle, kodai kuchi with various embellishments made of gold and silver metals were made for women and rings and pendants were made for both sexes. These ornaments are engraved with images of fanciful birds such as raccoons, seraphs, swans, eagles and other birds. A few of the kings who eventually ruled these were of Indian origin, so the ornament industry was mostly South Indian in style. However, in the coastal areas like Matara and Galle, ornaments were made in a different way than this, and in those ornaments, the mixed rituals of both the hill country and southern regions were seen. A few ornaments were made with a view to export abroad. Although they were an indigenous technology, European decorative works were also found there.

Earrings, rings, bracelets, wrist ornaments, pin, tortoiseshell jewelery box, neck ornaments, curved tortoiseshell comb, south pradesh village chief's official dress ornament, women wearing ornaments

Gallery information:

These photos were taken at the Galle National Museum—one of the most significant heritage sites in Sri Lanka's southern half constructed in Dutch architectural design. The main objectives of the museum are to the acquisition, conservation, study and research of historical and cultural heritage of the Southern half of Sri Lanka and to exhibit those objects to encourage public knowledge and education.