Sri Lankan scholars start research on masks in Cologne

Over three hundred masks left Ceylon for Hamburg and arrived in Cologne as a single line in a dealer's ledger. Names, villages, carvers, ritual lineages: none of it travelled with them. At the Rautenstrauch-Joest-Museum (RJM), Cologne, they are studied now by scholars from three different disciplines.

No one field can restore what a commercial transaction stripped away. Provenance research follows the paper.

Archaeology and Heritage studies reads the object. Ethnography listens to the practice that made it. Carving traditions, pigment and material analysis, Kolam and Thovil knowledge held in Sri Lanka, archives in Cologne, Hamburg and Colombo: each supplies a fragment the others cannot see.

Pictures courtesy Rautenstrauch-Joest Museum

So we are asking the questions the ledger foreclosed. Were objects catalogued as ritual masks ever danced? Do objects dismissed as decorative carry ritual histories?

The work is ongoing and the results are not yet in. But a mask identified correctly is more than a corrected label.

About Sri Lankan masks (added by RM*)

The history of Sri Lankan masks actually dates as far back as the 15th century, with strong links to devil-worship. In the coastal town Ambalangoda, there is the Mask Museum.

Mask suggest dramatic and varying meanings to the visual image, hopes and imagination arising from the beliefs and fears of the rural folk.
The masks or “Ves Muhunu” meaning “character face” is used in three (3) distinct situations: Ritual masks in God and Demon rituals, theatre mask enhance the theatrical, visual and the symbolical effect of the character and carnival, festive or ceremonial masks.
Mask such as the “Gara” are used in all three contexts. Behind the carving of many masks is a traditional tale, an age old belief structure.