Collective and Proactive Female Patronage in Sri Lankan Buddhist Temple Art

Abstract

Art history research in Sri Lanka has surged in popularity. However, the focus remains mainly on a handful of well-known historic Buddhist temples and their connections to royalty. The existing knowledge gap and broader perspectives in social archaeology surrounding temple patronage in late colonial Sri Lanka requires exploration. Recent advancements in social archaeology have further emphasized the necessity for an inclusive historiographical approach using comparative analyses. This research examines five Buddhist temples from the Central Province of Sri Lanka, examining the donative inscriptions found in temple murals as primary sources. Additionally, archaeological evidence and historical texts are analyzed to provide comparative insights and to identify accurate depictions of the social landscape of the period. Outcomes of the research highlight village and peasant Buddhist art traditions in Sri Lankan history that were obscured in art history scholarship, particularly showcasing the concept of collective patronage in rural areas. The temple provides a vivid example of collective patronage and active female participation in the expression of religious faith and social responsibility. The participation of women from different social strata confirms their relative religious freedom and economic strength, which enabled such endowments. The tolerance of female participation at religious sites by male clergy, as well as the continuation of a hierarchically graded feudal social order are represented even in sacred spaces during a period of declining feudalism in gendered contexts. This research highlights a collective patronage zone, showcasing inclusivity and relative social unity within communities.