THE KARAVE FLAG - Cont.
(2) The Pearl Umbrella.
From time immemorial the umbrella has been among Oriental peoples a symbol of
dominion. What is probably the earliest representation of the Umbrella in Ceylon
is described by Neville in the Taprobanian (Dec. 1885). He there describes a
stone panel discovered by him among the ruins of a very ancient city, (which he
ascribes to the primitive era of pile-dwellings),
In the district of Puttalam. The panel in question represents a five-headed Naga
seated beneath an umbrella, and two hands on either side holding a chamara.
Indian monarchs often styled themselves, "Brother of the Sun and Moon, and Lord of the Umbrella."
It is probable that in ancient times the umbrella was primarily thought of as a parasol rather a parapluie. The umbrella figures as an emblem of dominion on Assyrian reliefs and Egyptian wall-paintings. On a relief from Nineveh in the British Museum a conquering monarch sits under the parasol and received the homage of the vanquished. On another the King sits under a parasol and directs a siege. An Etruscan sepulchre, discovered at Chiusi, depicts a lady witnessing the palaestic games, "seated beneath an umbrella, indicative of her rank and dignity." (Dennis. Cities and Cemeteries of Etruria).
The parasol (skiadion) often figures on Greek vases, generally in the hands of an attendant. It was used as a token of respect, in religious processions at Athens, the daughters of the metoics (or resident aliens) having to hold parasols over the heads of the Kanephoroi, the Athenian maidens who carried the baskets of sacred bread. The use of the parasol has survived to this day in the ceremonial processions of the Catholic Church.
Ovid in the Ars Amatoria, advises the Roman gallant to be attentive with the parasol, and it is possible that Roman clients flattered their patrons with the parasol, on their way to the Forum. Whoever has seen a village litigant in Ceylon, leading a train of clientes, and differentially holding the umbrella over the head of an outstation proctor on his way from office to court-house, will guess that the Sinhalese custom must have had a Roman analogy.
The parasol figures on the paintings at Ajanta (200 B.C.) as an emblem of royalty. It is there represented as decked with streamers and garlands of flowers, from which doubtless were derived the garlands of pearls on the " pearl umbrella," as used in Ceylon. The parasol figures also on the carvings of the stupa of Bharut, on the panels of the East gateway at Sanchi, and on the ancient Buddhist carvings of Java.
An Indian inscription of the 12th century speaks of the king's " white parasol raised on high, like a matchless second moon, overspreading the whole world". During the reign of Rájádhirája I Cholan (1018-1053 A.D.) the Pandyans combining with the Sinhalese and the Cherans, tried to throw off the Cholan yoke, but were defeated. The victor's inscription (S. Ind. Inscriptions, III. 56) states that he '' drove down to the river Mullaiyar Sundara Pandya of great and undying fame, who lost in the stress of battle his royal white parasol, his fly-whisk of white yak's hair, and his throne.'' In 1844, when the Amir Abd-el-Cader was worsted by the French arms in Algeria, the loss of his parasol was the token of his defeat.
The pearl umbrella has been one of the most conspicuous emblems of royalty in Ceylon. "The white umbrella of dominion, studded with jewels and fringed with pearls, was borne aloft on a silver pole surmounting the throne,'' (see the Mahavanse, and E. W. Perera Ancient Sinhalese heraldry.) In preparation for the arrival of the Relics, Mahinda tells Devanam-piyatissa, '' Go thou in the evening, mounted on thy state-elephant, bearing the white parasol" (Mahavanse). Just before the enshrining of the Relics, Dutthagamini is seen standing, "holding a golden casket under the white parasol" (Mahavansa).
"The parasol was the emblem most directly associated in the popular mind with duly constituted authority and kingly rank. . . To bring the country 'under one parasol,' signified consolidating the government under one sovereignty." (John M. Senaviratne: Royalty in Ancient Ceylon).
According to Ehelepola, the pearl umbrella was in his time an emblem of royalty. It is still used by members of the Kaurava Vanse on ceremonial occasions.
It is probable that the use of pearls on the royal umbrella became de rigueur in Ceylon, following the Pandyan precedent. The lost city of Korkai, once the capital of the Pandyan kings, was the centre of the pearl fishery, and is spoken of as a noted pearl emporium by Ptolemy. The prestige of the Pandyan kings was based on pearls, as that of the Sinhalese kings was based on gems. The kings of Madura until comparatively recent times styled themselves " Chiefs of Korkai."
(3) The Chamara.
The chamara or ceremonial fly-whisk is a royal symbol of great antiquity. A
relief of Assur-bani-pal and his queen in the British Museum depicts attendants
holding chamara. The ancient panel depicting depicting a five-headed Naga
discovered by Neville contains Emblem.
In India, the royal chamara were made of the white hair of the Tibetan yak, (see
the Cholian inscription referred to above); and Barbosa (1514) describes the
whisks used by the king of Ceylon as made of the " white hair of
animals." Vimala Dharma I, offered a gilt-handled whisk as a royal emblem
to Pinhao. A specimen of an ivory handled whisk may be seen among the ivory
exhibits at the Colombo Museum. At the enshrining of the Relies, Samtusita is
said to have held "the
yak-tail whisk." (Mahavansa).
The chamara appears in the hands of the "daughters of the gods" attending on the higher gods, at Sanchi. It appears also on the paintings at Ajanta. Here, in addition to its use as a whisk, three chamaras at the end of a spear, figure as a special symbol, among time paraphernalia of war. This usage appears to have survived in the Turkish army till the 18th century. Lady Mary Wortley Montagu, in one of her letters describing the departure of a military expedition from Constantinople, speaks of the "pashas of three tails," and of these emblems being displayed in front of their tents as "ensigns of their power."
(4) The Chank.
The chank or conch-shell was in its origin a martial emblem. As a religious
symbol it was particularly associated with Vishnu, who is declared to have used
it in war. Its use as a trumpet in war is constantly spoken of in the
Mahabharata. Chanks as trumpets are depicted in a representation of a royal
procession at Buddhagaya on the occasion of Mahinda's mission with a branch of
the bo-tree to Ceylon, carved on the East gateway at Sanchi.
Father Barradas, a Jesuit missionary, mentions the use of chanks as trumpets at a Karáve wedding procession at Moratuwa in 1613.
As an emblem of royalty, the chank figured on the royal shield, which was white, and bore this device, and was called the sak paliha (conch shield). "Not long after the king of the hill country raised a rebellion in the Hatara Korale, Dharma Prakrama Bahu (1505-1527) having heard of this, committed the army to his younger brother . . . and sent him to seize the hill country . . . The king of the hill country came to meet him, and in token of homage sent the pearl umbrella, the conch shield and chain of honour" (C.B.R.A.S. Journal xx, p. 187).
The chank was one of the emblems which adorned the canopy over the Ivory Throne at the Brazen Palace. It figures, with the sun and moon and the wheel of empire, on grants made by the Sinhalese Kings. It is mentioned as an emblem of royalty in Vimala Dharma's letter to Pinhao offering him a kingdom.
"Dom Joao of Candia to Simao Pinhao, King of the kingdoms below...
"Your honour will be king of the territories below, of which Raju was the lord... I for my part make this promise and there is no uncertainty as to my word... For your honour, a collar of Raju two bracelets for each arm, all of precious stones, the honour of anklets for the feet, one pitcher and basin of gold, with a gilt palanquin; two white parasols, two white banners, a white shield, a chank, and chamara, all gilt." (Pieris, Port, Era I, 357).
(5) and (6) The Sword and Trident.
"The man represented on the flag as seated on an elephant is probably the
chief of the tribe. . The elephant has been associated with the caste on
tombstones of the seventeenth century." (E. W. Perera Sinhalese Banners and
Standards.)
The chief bears in his right hand a sword, and in his left hand a trident. These again were emblems of royalty.
Barbosa (1514) describing a progress of the Sinhalese King, says, "When the
king goes out of his palace, all his gentlemen are summoned who are in waiting.
And one Brahman carries a sword and shield, and another a long gold sword in his
right hand, and in his left hand a weapon which is like a fleur de lis (i.e. a
trident). And on each side go two men with two fans, very long and round, and
two others with two fans made of white tails of animals, which are like
Horses."
The trident appears also on coins and royal inscriptions.
