The Concepts, principles and methodologies used in Sinhalese Jewellery

Abstract

It is evident that, the things that we produce today, mark the capabilities of people, that gives predictions to the future of a nation. Great civilizations have been recognized from the things that they had produced in the past, such is reflected in architecture, literature, arts & crafts, paintings and sculpture. Today, we look back in to history, seeking for the inspiration of the past. The continuity of the future from the search of the past can be understood as a continuous and healthy process, for the evolution of the new. The study area o f jewellery can be identified as a rich and valuable part of a culture. It can be observed that embellishment had always been an indication of a rich culture. It is understood that, the careful thoughts and synthesis made upon creating jewellery, unfold greater values and deep set roots of the culture. The intelligence, freedom of imagination and wisdom, nourished by the availability of resources and technological expertise are considered as the most important concerns, from which stem the valuable crafting of jewellery. This has been evident, in the Sri Lankan history, which runs back in to more than 2500 years of time. The rich inheritance of gems and pearls, have naturally made Sri Lanka, a renowned name for the trading of gems in the ancient trade. The influence that had brought in the migratory movement of people, due to religious or political alliances, marriage and trade activities are eminent in Sri Lankan jewellery traditions. Also they were subjected to the cross fertilization of other cultural influences. Due to these factors, along with the location of Sri L a n k a as a trade hub in the ancient sea routes had paved way for a unique tradition, of jewellery showcasing high technology and material advancement. It is evident, that design and manufacturing of jewellery had been synthesized along, these processes, that had occurred mainly, due to social, cultural, economical, politie^^arid' environmental reasons. Therefore it had built a tradition along the coursl of j ts history, with accumulated knowledge from the back grounds mentioned above. However, it is observed, that due to various reasons , monotony has resulted, in the recent past in the field of Sinhalese jewellery. With the change of economy, and having introduced the commerce oriented jewellery production, towards the demands of the West, State supported arts and crafts have been fast diminishing in the recent past. A s a result, the value for jewellery and greater enthusiasm and creativity that originated from the aspirations of local people had been ignored for a considerable period of time. With these changing sequences, a commercial oriented background had set in day by day, with the original creativity diminishing in to history. This has resulted in a complete ignorance for good design and creative artists work in the Sri Lankan jewellery. Particularly the local designers work had been completely 'handicapped' by the jewellery design catalogues sent from abroad. Therefore, a greater need has arisen, to enrich the field of Sri Lankan jewellery for innovation, creativity and high quality designs with identity and uniqueness. T h i s has become a national need, of the country at present. A greater need has arisen to search for the roots of the past, to identify the concepts, principles and methodologies used in design and production. Most importantly search for the indigenous processes of creating jewellery in the past tradition. Adaptation of the academic formulas which has the power to influence the jewellery design education.