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Devendra Mulachari:
http://www.sundayobserver.lk/
Relatively little has been written about one of the most brilliant designers and royal artificers produced by the Kandyan Kingdom - Devendra Mulachari. He designed and built some of the most historic monuments in the Kandyan Kingdom, including the Pattirippuwa or Octagon of the Sri Dalada Maligawa, the Cloud Wall or Walakulu Bemma surrounding the Maligawa, the Diyarella Bemma or ornamental wall surrounding the Kandy Lake and the Magul Maduwa or Audience Hall in Kandy.
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| The Pattirippuwa of the Sri Dalada Maligawa, one of the most outstanding designs of Devendra Mulachari |
Little is known of his origins. King Kirthi Sri Rajasinha (AD 1747-1782), on the advice of Ven. Weliwita Sangharaja Saranankara Thera, is said to have rebuilt and renovated hundreds of Buddhist temples which were destroyed by invaders or were abandoned.
For the restoration work, the King employed traditional Sinhala artists who were scattered throughout the country. Some of them came from Devundara (Dondra) in the South and one belief is that Devendra Mulachari’s father was also in this group and settled down at Madakumbura in Kotmale. Devendra Mulachari himself appears to have settled in Arattana in Udunuwara circa AD 1750 during the reign of King Kirti Sri Rajasinha.
His first architectural work was the Madama or Bana Maduwa at Middeniya (Lawrie’s Gazetteer, p. 589). Middeniya is a village in Udapalata Korale, Tumpane. It was a construction of about 500 sq. ft. on a land about six perches in size. The original construction had a four-sloped roof with ancient flat tiles (pethi ulu) and one door. The original construction is not visible now.
Folklore
Another of Devendra Mulachari's constructions was the Pekada Kamhala at Madakumbura, Kotmale. King Sri Wickreme Rajasinha entrusted him with the task of constructing this building. According to folklore, settlers there found that agricultural implements were not readily available for cultivation nor were there facilities for repair and maintenance of tools and implements. On their request the King sent Devendra Mulachari to construct a workshop to manufacture, repair and maintain agricultural implements. This was Pekada Kamhala, 32 feet in length and 15 feet in breadth, about 500 sq. ft. in extent, standing on six stone pillars with wooden carvings on top. Of the entire structure, only one stone pillar is left along with the stone foundation which is visible.Octagon
He was then entrusted with the construction of the Pattirippuwa or Octagon of the Dalada Maligawa. Devendra Mulachari first constructed a model of the proposed structure, using the stems of plantain trees, and showed it to the King. On the King's approval of the model, work commenced and the building was completed. |
The Magul Maduwa or Audience Hall in Kandy
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| The Cloud Wall or Walakulu Bemma around the Sri Dalada Maligawa |
Devendra Mulachari is also credited with the planning and construction of the moat running alongside the Maligawa and the Royal Palace, and the highly original concept of the Cloud Wall or Walakulu Bemma surrounding the Maligawa. However, the project was not completed during the Mulachari’s lifetime.
Devendra Mulachari and his son are also credited with creating some of the carvings at the Embekke Devala. Out of 514 carvings, 128 are elaborate carvings in the pillars, their uniqueness being that all are different from each other.
The title Mulachari, according to Dr. Vimalananda Tennakoon, was given to an artificer who was well versed and an expert in at least five arts and crafts. The royal artificers of the Kandyan Kingdom formed a close corporation, divided into four workshops or pattales. They were the Abharana Pattale (workshop for ornaments or jewellery), Otunu Pattale (workshop for crowns), Ran-Kadu Pattale (workshop for golden swords) and Sinhasana Pattale (workshop for thrones) – D’Oyly p. 135; Knox p. 108.
Devendra Mulachari was the chief, not only of one workshop, but due to his skill and brilliance, of all four workshops during his time.
With regard to his personal life, as far as can be gathered from various records, Devendra Mulachari got married around 1775 to a woman named Ran Etana. He had two sons; the elder Devendra Devasinha Mulachari was granted the Kawudugama Sannasa in 1730 Saka AD 1808, appointing him as the Kotta Badde Vidane of Uva (Codrington p.241).
Devendra Mulachari is also said to have had a daughter who was given in marriage to Manuwira Wickrema of Embekke. Some of Devendra Mulachari’s descendants are still at Arattana and particularly at Mangalagama.
Resemblance
There is no doubt that Devendra Mulachari was closely associated with the kings particularly Sri Wickreme Rajasinha. It is said that there was a close resemblance in features and appearance between them and this may also have been a reason for the close association. This similarity is said to have led to problems at times and probably was a reason for the jealousy of the chiefs and courtiers towards the Mulachari, which ultimately led to his untimely end.His end was connected with the construction of one of his chief works, the Magul Maduwa or Audience Hall in Kandy. This was first started in AD 1784 under King Rajadhi Rajasinha who laid the foundation stone for the project.
The timber for the construction was brought from Matale and consisted of Nalmilla, Na and teak wood. According to the original plan, its length was 19.75 metres and breadth 11.65 metres with 24 elaborately carved columns on each side, making 48 columns in all. Subsequently, its length was increased by 10.33 metres to 30 metres with another 16 columns and 64 elaborately carved columns are visible today.
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| The Embekke Devala which is believed to contain carvings of Devendra Mulachari and his son |
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| One of the intricate carvings at Embekke Devala |
Demise
It was during the construction of the Magul Maduwa or Audience Hall that events which led to the untimely demise of Devendra Mulachari occurred. Due to the jealousy of the Kandyan chiefs and courtiers towards Devendra Mulachari, the former who furnished the timber for the construction falsely complained to the King that the Mulachari shortened and rejected the beams brought.The King thereupon threatened to cut off the fingers of the Mulachari (apparently the right thumb) who, upon hearing this, to avoid disgrace, threw himself into the Kandy Lake (Coomaraswamy p. 59, Codrington, p. 240). Subsequently, the King, on learning of the true situation, was in remorse and is said to have bit his own right thumb and accorded the Mulachari a funeral with full honours.
Thus ended the life of one of the most brilliant designers and royal artificers produced by the Kandyan Kingdom and the architect of some of the historic buildings and constructions in Kandy and the Kandyan Kingdom.
It is unfortunate that his life and works have not received the recognition that they deserve. It is time to give due recognition to the achievements of the brilliant and unique designer and artificer Devendra Mulachari in producing some of the historic constructions that adorn Kandy.
The writer is President of the Sri Lanka Institute of Taxation and a former Commissioner of Inland Revenue. The article is based on his historical research study in the book 'The Royal Artificers of Mangalagama and their Descendants' published by Stamford Lake Ltd.
Courtesy: Sunday Observer
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Sinhala artists of Kandyan era
http://infolanka.com/org/
By Rajendra Bandara
On the advice of Rev. Welivita Sangaraja Saranankara, King Keerthi Sri Rajasinghe rebuilt and renovated hundreds of Buddhist temples which were destroyed by invaders or abandoned. For the restoration works, the King employed traditional Sinhala artists who were scattered throughout the country. These artists belonged to the artist caste called "Hiththaru". This caste is also known as ‘Acharis’, ‘Nawandanna’, ‘Galladdo’, or ‘Gurunnanses’. In the Kandyan region they are regarded as high caste people, second only to the Govi caste.
Members of this caste use surnames "Naide" for males and "Nachchire" for females. Most of the names are of Indian origin as some craftsmen and artists migrated to Sri Lanka recently. "Naide" is similar to the Telengu word ‘Naidu’ used in ‘Andra Pradesh’ in Southern India. Females of this caste are allowed to wear Kandyan ‘Osariya’ as a special privilege.
There were different schools of artists or generations, called "Paramparawa". "Nilagama paramparawa" (school) is one of the most famous tradition. The well-known Dambulla rock temple was built by the "Acharis" of Nilagama tradition. The Head Craftsman or the Artist is called "Mulachari". Under a Mulachari several assistants were employed.
Rev. Dewaragampola Silwaththena was a Buddhist Bhikku turned artist who painted the murals at "Ridivihara" and "Degaldoruwa". Rev. Wettewe and Rev. Katuwana were the other monks who painted temple murals in this period. Dingiran Appu of Ahangama and Welitara Heenappu were famous artists in the Matara area. One still finds traditional artists in this area with family names of Devendra and Devasurendra.
Deldeniye Siththara Naide, Bodhinarayana Chithracharige Kapuru Naide, Wijayapala Muhandiram Neththa Naide and Hiriyale Naide were also famous traditional artists at that time.
Devendra Mulachari was the Head Craftsman of the King Sri Wickrema Rajasinghe, the last King of Sinhale. He was the creator of Paththiruppuwa of Sri Dalada Maligawa and the beautiful Kandy Lake. The descendents of this Mulachari are still found in the Kandy area and they are using the family name "Rankoth Vibhushana Gedera".
After the completion of a Temple or a Devale the artists were given titles and gifts including lands. Some artists were given "Nalalpata" (Jewelled ornament worn on the forehead) with a special title in appreciation of their skill. Some were elevated to the high caste by a proclamation made by the King.
It is mentioned in the "Dambulla Gal Sannasa" (Rock edict) that King Wimaldharmasuriya II, upon the occasion of fixing a bell on the rock in front of Raja Mahawihara at Dambulla, the craftsmen were rewarded with one amuna of paddy land (aprox. 2 acres) and 200 fanams.
After the advent of western art, the Kandiyan art tradition was ignored and neglected. Descendents of the Kandiyan artists are no more interested in preserving this unique style of painting.
The Kandyan king, Kirti Sri Rajasinghe (1747-1780) was a great patron of the arts. It was during his time that some of the best paintings in upcountry temples were created. Among them, the Degaldoruva Raja Maha Vihara paintings stand out.Degaldoruva is just a few miles away from Kandy close to Kundasale and is well worth a visit to get an idea of the Kandyan style of paintings. Incidentally, the temples which received the patronage of the king came to be known as ‘Raja Maha Viharas’ and to this day they are identified as such. So when you next see a name board of a temple with the wording ‘Raja Maha Vihara’, that means the king had given lands and other valuables to that temple.
While the Degaldoruva paintings were started by King Kirti Sri Rajasinghe, the king had died before they were completed. It was during the reign of his younger brother, King Rajadhi Rajasinghe, who succeeded him, that they were completed. After the work was done, the king had handed it over to Moratota Dhammarakhkhita Nayaka Thera, who was his teacher. Popularly known as Moratota Hamuduruwo, he was a very learned monk.
Four ‘Sittara’ painters are credited with the Degaldoruva paintings. Among them, Devendra Mulachari is regarded as the leader. Devaragampola Silvattenne Unnanase was the best known out of them. ‘Silvat Unananses’ were those who had become monks but not received higher ordination or ‘upasampada’. In addition to Degaldoruva, he has also drawn the paintings at Ridi Vihara. Hiriyale Naide and Nilagama Patabendi are the other two painters.
Critics regard Degalduruva paintings as ones with great beauty and charm. The decorative paintings also indicate the customs, manners and social conditions of the time. Elephants are gaily decorated, the uniforms of attendants are clearly shown and the insignia of royalty well depicted.
Four Jataka tales are seen in the ‘budu-ge’, the image house. These are portrayed as continuous stories. When the devotee walks from one end to the other, the story unfolds from beginning to end. Vessantara Jataka, Sattubhatta Jataka, Sutasoma Jataka and Mahaseelava Jataka are the four stories of the Bodhisatva which are depicted at Degaldoruva.
A feature of the paintings is that the figures, whether they be humans, animals, trees or any other, generally are of a uniform size. Another feature is that the back view of human figures are not shown. It is always the front view or the side view that the devotee sees. The trees take a stylised form where a tree is shown with branches and leaves spread on either side. A stream can be identified by a few fish swimming and some floral decorations. The prominent colours used are red and green. Colours were made from the bark of trees found in the village.
Apart from the Jataka tales, the life of the Buddha is also painted. The ‘Mara Yudde’ - the war with Mara - is one of the most prominent paintings at Degaldoruva. There are several features of the Mara depicted here. The Mara has five faces. The forces of Mara carry guns similar to the ones used by the Sinhalese and considered superior to the ones used by the Portuguese, who occupied the maritime provinces in the 16th century. These have been delicately portrayed.
While the Degaldoruva paintings are some of the finest portraying folk tradition, they also depict the clothes the people wore and the houses they lived in. The clothes show a distinct difference between what was worn by people in the low country and those worn by upcountry people. Inside the houses, the furniture is also shown. Thus these paintings are important in studying the social conditions in the 18th century.
By LankaLibrary Site Admin
http://www.lankalibrary.com/
..............................
Recently we were fortunate to visit the Degaldoruwa viharaya and watch the restoration of its art work by the some young artists.
This temple is snugly built into the base of a rock and according to the Degaldoruwa Sannasa, issued in 1786, the temple was commissioned by Kirti Sri Rajasinha in 1771.
The rock cut chamber consists of two roofed antechambers in front, the first a drumming hall and the other an intermediate vestibule or mandapa. The white painted roman arch entrance is contrasting yet welcoming .
A prominent bell fry stands alongside the temple building. Inside the temple is a large recumbent Buddha image. On the summit of the rock is the Bo tree and the dagoba.
The Degaldoruwa copper plate grant records the work carried on at the rock temple at Degaldoruwa thus:
“His highness Asthana , the younger brother of king Kirti Sri at whose feet virtuous men performed services, as bees gather themselves around flowers, caused stone walls to be put up and doors and windows to be fit with keys and bars, and an image of Buddha of 12 cubits in length to be made in a reclining posture, and six other images of the Buddha in a sitting posture to be placed at the head and feet of the image and caused 24 Buddha images to be engraved in the ceiling and on the walls within and without, and other workmanship and engraving to be made thereon and upon the stone pillars, the roof of the front court to be put up with beams and rafters and covered with tiles and on the cross-walls …………..”
The paintings at Degaldoruwa are celebrated not only as some of the finest expressions of the central Kandyan school but also because they can be dated to a period between 1771 and 1786. Their well articulated and highly decorative line work, and brilliant red back grounds are some of the outstanding features The renown artist monk Devaragampola Silvatenne Unnanse remembered as the best painter of his day, is said to be responsible for the paintings still in existence.
Scholars point to the paintings found on the wall separating the vestibule from the inner chamber and on the natural rock ceiling itself. These paintings are divided into four panels. These consist of three Jataka stories the Sutasoma Jataka, the Vessantara Jataka, and the Silava Jataka. The art work of the Vessantara jataka are considered as most outstanding in their expressiveness and in its narration. A quaint window is set to the left of the main door.
Directly on the other side of the same wall inside the inner chamber two side panels depict the Sat sati and the Solosmastana, with Jataka stories in the centre.
The wall behind the principal, recumbent image has paintings of disciples, while the rock face immediately above the statue has a painted awning of large decorative lotuses.
According to art scholars the most dramatic composition is the great panel on the ceiling depicting the Mara Yuddha. It has been described thus : “In the centre of the panel the Buddha appears, calm and unperturbed, his radiant nimbus around him. He sits on his jeweled throne under the Bodhi tree, in bhumisparsa mudra, the earth touching attitude, calling the earth to testify on his behalf against Mara. The earth’s reply is made explicit in the form of the ‘Earth woman’, the Mahikanta, emerging from below, bearing a pot of plenty and holding up her right hand in testimony. On the Buddha’s left we see a many armed Mara mounted on his war elephant, leading his army of demons into battle. To the right at the base of the throne, the evil god is thrown off his elephant, in abject defeat. Surmounting the entire scene, on a level with the upper branches of Bodhi tree, are ranks of devas, in a lotus – strewn backdrop, gods very different in character from the demons below.”
Degaldoruwa viharaya is some 2 ¼ kilometers from the Kandy town and is easily accessible.
It is also interesting to mention of an old ambalama or resting house known as the Sirimal watta ambalama that is located on the route to the Degaldoruwa temple along the Kandy – Lewella road. The old ambalama now restored is situated in a very dramatic manner within the crook of three roads at the final turn off to the Degaldoruwa temple The construction of the ambalama is attributed to a local chieftain during the reign of Sri Wickrama Rajasinghe. Its wooden pillars, cement half walls which act as comfortable seats and tiled roof is inviting.
by Kishanie S. Fernando
Daily Mirror - February 19, 2007
Sinhala artists of Kandyan era
http://infolanka.com/org/
 |  |
On the advice of Rev. Welivita Sangaraja Saranankara, King Keerthi Sri Rajasinghe rebuilt and renovated hundreds of Buddhist temples which were destroyed by invaders or abandoned. For the restoration works, the King employed traditional Sinhala artists who were scattered throughout the country. These artists belonged to the artist caste called "Hiththaru". This caste is also known as ‘Acharis’, ‘Nawandanna’, ‘Galladdo’, or ‘Gurunnanses’. In the Kandyan region they are regarded as high caste people, second only to the Govi caste.
Members of this caste use surnames "Naide" for males and "Nachchire" for females. Most of the names are of Indian origin as some craftsmen and artists migrated to Sri Lanka recently. "Naide" is similar to the Telengu word ‘Naidu’ used in ‘Andra Pradesh’ in Southern India. Females of this caste are allowed to wear Kandyan ‘Osariya’ as a special privilege.
There were different schools of artists or generations, called "Paramparawa". "Nilagama paramparawa" (school) is one of the most famous tradition. The well-known Dambulla rock temple was built by the "Acharis" of Nilagama tradition. The Head Craftsman or the Artist is called "Mulachari". Under a Mulachari several assistants were employed.
Rev. Dewaragampola Silwaththena was a Buddhist Bhikku turned artist who painted the murals at "Ridivihara" and "Degaldoruwa". Rev. Wettewe and Rev. Katuwana were the other monks who painted temple murals in this period. Dingiran Appu of Ahangama and Welitara Heenappu were famous artists in the Matara area. One still finds traditional artists in this area with family names of Devendra and Devasurendra.
Deldeniye Siththara Naide, Bodhinarayana Chithracharige Kapuru Naide, Wijayapala Muhandiram Neththa Naide and Hiriyale Naide were also famous traditional artists at that time.
Devendra Mulachari was the Head Craftsman of the King Sri Wickrema Rajasinghe, the last King of Sinhale. He was the creator of Paththiruppuwa of Sri Dalada Maligawa and the beautiful Kandy Lake. The descendents of this Mulachari are still found in the Kandy area and they are using the family name "Rankoth Vibhushana Gedera".
After the completion of a Temple or a Devale the artists were given titles and gifts including lands. Some artists were given "Nalalpata" (Jewelled ornament worn on the forehead) with a special title in appreciation of their skill. Some were elevated to the high caste by a proclamation made by the King.
It is mentioned in the "Dambulla Gal Sannasa" (Rock edict) that King Wimaldharmasuriya II, upon the occasion of fixing a bell on the rock in front of Raja Mahawihara at Dambulla, the craftsmen were rewarded with one amuna of paddy land (aprox. 2 acres) and 200 fanams.
After the advent of western art, the Kandiyan art tradition was ignored and neglected. Descendents of the Kandiyan artists are no more interested in preserving this unique style of painting.
Degaldoruva Raja Maha Vihara
- Paintings with great beauty and charm -
http://www.angelfire.com/
http://www.angelfire.com/
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Four ‘Sittara’ painters are credited with the Degaldoruva paintings. Among them, Devendra Mulachari is regarded as the leader. Devaragampola Silvattenne Unnanase was the best known out of them. ‘Silvat Unananses’ were those who had become monks but not received higher ordination or ‘upasampada’. In addition to Degaldoruva, he has also drawn the paintings at Ridi Vihara. Hiriyale Naide and Nilagama Patabendi are the other two painters.
 |
Four Jataka tales are seen in the ‘budu-ge’, the image house. These are portrayed as continuous stories. When the devotee walks from one end to the other, the story unfolds from beginning to end. Vessantara Jataka, Sattubhatta Jataka, Sutasoma Jataka and Mahaseelava Jataka are the four stories of the Bodhisatva which are depicted at Degaldoruva.
A feature of the paintings is that the figures, whether they be humans, animals, trees or any other, generally are of a uniform size. Another feature is that the back view of human figures are not shown. It is always the front view or the side view that the devotee sees. The trees take a stylised form where a tree is shown with branches and leaves spread on either side. A stream can be identified by a few fish swimming and some floral decorations. The prominent colours used are red and green. Colours were made from the bark of trees found in the village.
Apart from the Jataka tales, the life of the Buddha is also painted. The ‘Mara Yudde’ - the war with Mara - is one of the most prominent paintings at Degaldoruva. There are several features of the Mara depicted here. The Mara has five faces. The forces of Mara carry guns similar to the ones used by the Sinhalese and considered superior to the ones used by the Portuguese, who occupied the maritime provinces in the 16th century. These have been delicately portrayed.
While the Degaldoruva paintings are some of the finest portraying folk tradition, they also depict the clothes the people wore and the houses they lived in. The clothes show a distinct difference between what was worn by people in the low country and those worn by upcountry people. Inside the houses, the furniture is also shown. Thus these paintings are important in studying the social conditions in the 18th century.
By LankaLibrary Site Admin
http://www.lankalibrary.com/
..............................
Degaldoruva Raja Maha Vihara
- The Treasure Troves of Lewella -
http://www.angelfire.com/
In the lovely valley of Lewella in the salubrious climes of Kandy are two temples recognized as treasure troves of central Kandyan art heritage. The two temples can be visited within a few minutes from each other.http://www.angelfire.com/
Recently we were fortunate to visit the Degaldoruwa viharaya and watch the restoration of its art work by the some young artists.
This temple is snugly built into the base of a rock and according to the Degaldoruwa Sannasa, issued in 1786, the temple was commissioned by Kirti Sri Rajasinha in 1771.
The rock cut chamber consists of two roofed antechambers in front, the first a drumming hall and the other an intermediate vestibule or mandapa. The white painted roman arch entrance is contrasting yet welcoming .
A prominent bell fry stands alongside the temple building. Inside the temple is a large recumbent Buddha image. On the summit of the rock is the Bo tree and the dagoba.
The Degaldoruwa copper plate grant records the work carried on at the rock temple at Degaldoruwa thus:
“His highness Asthana , the younger brother of king Kirti Sri at whose feet virtuous men performed services, as bees gather themselves around flowers, caused stone walls to be put up and doors and windows to be fit with keys and bars, and an image of Buddha of 12 cubits in length to be made in a reclining posture, and six other images of the Buddha in a sitting posture to be placed at the head and feet of the image and caused 24 Buddha images to be engraved in the ceiling and on the walls within and without, and other workmanship and engraving to be made thereon and upon the stone pillars, the roof of the front court to be put up with beams and rafters and covered with tiles and on the cross-walls …………..”
The paintings at Degaldoruwa are celebrated not only as some of the finest expressions of the central Kandyan school but also because they can be dated to a period between 1771 and 1786. Their well articulated and highly decorative line work, and brilliant red back grounds are some of the outstanding features The renown artist monk Devaragampola Silvatenne Unnanse remembered as the best painter of his day, is said to be responsible for the paintings still in existence.
Scholars point to the paintings found on the wall separating the vestibule from the inner chamber and on the natural rock ceiling itself. These paintings are divided into four panels. These consist of three Jataka stories the Sutasoma Jataka, the Vessantara Jataka, and the Silava Jataka. The art work of the Vessantara jataka are considered as most outstanding in their expressiveness and in its narration. A quaint window is set to the left of the main door.
Directly on the other side of the same wall inside the inner chamber two side panels depict the Sat sati and the Solosmastana, with Jataka stories in the centre.
The wall behind the principal, recumbent image has paintings of disciples, while the rock face immediately above the statue has a painted awning of large decorative lotuses.
According to art scholars the most dramatic composition is the great panel on the ceiling depicting the Mara Yuddha. It has been described thus : “In the centre of the panel the Buddha appears, calm and unperturbed, his radiant nimbus around him. He sits on his jeweled throne under the Bodhi tree, in bhumisparsa mudra, the earth touching attitude, calling the earth to testify on his behalf against Mara. The earth’s reply is made explicit in the form of the ‘Earth woman’, the Mahikanta, emerging from below, bearing a pot of plenty and holding up her right hand in testimony. On the Buddha’s left we see a many armed Mara mounted on his war elephant, leading his army of demons into battle. To the right at the base of the throne, the evil god is thrown off his elephant, in abject defeat. Surmounting the entire scene, on a level with the upper branches of Bodhi tree, are ranks of devas, in a lotus – strewn backdrop, gods very different in character from the demons below.”
Degaldoruwa viharaya is some 2 ¼ kilometers from the Kandy town and is easily accessible.
It is also interesting to mention of an old ambalama or resting house known as the Sirimal watta ambalama that is located on the route to the Degaldoruwa temple along the Kandy – Lewella road. The old ambalama now restored is situated in a very dramatic manner within the crook of three roads at the final turn off to the Degaldoruwa temple The construction of the ambalama is attributed to a local chieftain during the reign of Sri Wickrama Rajasinghe. Its wooden pillars, cement half walls which act as comfortable seats and tiled roof is inviting.
by Kishanie S. Fernando
Daily Mirror - February 19, 2007
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