Women’s Ethics in Contemporary Society as Illustrated by Sigiri Paintings: A Study from Archaeological and Modern Perspectives

Abstract

Among the paintings belonging to the Anuradhapura era, the Sigiriya frescoes stand out as the most prominent and widely recognized artworks that have survived to this day. These paintings are one of the significant factors that contributed to Sigiriya being designated as a UNESCO World Heritage Site. The main collection of frescoes at Sigiriya is located on the western face of the massive rock. The inscriptions on the Mirror Wall (Ketapath Pawura) reveal that by the 7th century CE, there were approximately 500 paintings in Sigiriya. However, only 23 images remain today, all of which depict female figures. These paintings are categorized into solitary and paired figures. The solitary figures represent noblewomen, while the paired figures depict noblewomen accompanied by attendants. None of these frescoes portray unnatural or exaggerated postures. Instead, they adhere to the idealized features of feminine beauty, such as dreamy eyes, delicate eyebrows, full lips, and long, expressive eyes. A majority of the women in these frescoes are depicted with bare upper bodies, while only the attendant figures appear to be fully clothed. Although some noblewomen are assumed to be wearing a delicate shawl, their upper bodies are still largely visible. Historical evidence, including ancient literary sources, suggests that Sri Lankan noblewomen in earlier centuries, up until the 9th century, commonly left their upper bodies uncovered. Renowned scholar Martin Wickramasinghe has pointed out that this tradition is documented not only in ancient frescoes but also in literary works. Given that the social norms of the time reflected this practice, it is reasonable to interpret the women depicted in the Sigiriya frescoes as representatives of such a cultural setting. Additionally, some of the frescoes depict both queens and attendants wearing a choli (a tight-fitting upper garment) that covers their breasts, while others are shown wearing a fabric wrapped just above the waist. Sri Lankan society, known for its strong ethical and moral values, can be better understood by analysing the behavioural patterns and social customs of its people. Historical records provide ample evidence of a highly ethical society that existed throughout Sri Lanka’s long and continuous history. Thus, this study seeks to answer the research question: Do the Sigiriya frescoes depict the ethical and moral values of women in the contemporary society of the Anuradhapura era? The primary objective of this research is to explore the subject matter illustrated in the Sigiriya frescoes and analyse the social roles of women during that period. Furthermore, it aims to examine whether these frescoes serve as a medium for communicating the ethical values and behavioural norms of women in that era. To gather the necessary data, a combination of qualitative and quantitative research methodologies was employed, utilizing literary sources, field studies, and online resources. Many scholars agree that art reflects the cultural, moral, and ideological framework of the society in which it is created. Additionally, according to H.C.P. Bell, the frescoes may depict women on their way to worship at the Pidurangala Temple. However, this interpretation is debated, as the women in the frescoes are adorned with elaborate clothing and jewellery, whereas traditional Sri Lankan women would dress modestly and simply when visiting religious sites. Moreover, many inscriptions on the Mirror Wall suggest that the women in these frescoes were queens mourning their separation from King Kashyapa, with some verses even indicating their intention to leap from the rock due to grief. This perspective highlights the devotion and unwavering loyalty of women to their husbands in that era. Consequently, this study provides a deeper understanding of how the Sigiriya frescoes reflect the ethical values and character development of women in the contemporary society of the Anuradhapura period.