A majestic ritual

Sabaragamuwa Maha Saman Devalaya is an abode interwoven with folklore, history and
heritage. Come September, the premises of the Devalaya is filled with a festive air as the
annual pageant tours the streets. Mahil Wijesinghe walks to the Devalaya
and captures the key moments.

JEWEL OF THE CITY OF GEMS: September is significant for the people in Sabaragamuwa. It is during this month that the five-day long spectacular cultural pageant at the historic Sabaragamuwa Maha Saman Devale in Ratnapura is held, considered second
only to the Esala Perahera in Kandy. The pageant showcases the observance of age-old customs and rituals dedicated to God Saman, which are performed over five nights.

Abode of the God Royal patronage Architectural marvels

Maha Saman Devalaya of Sabaragamuwa is located amid serene environs, atop a
small hill, just three kilometres from the city of Ratnapura. The mighty meandering
river of Kalu Ganga flows just outside the Devalaya and adds a fascinating sight to
the Devalaya. Arya Kamadeva, a Minister of King Parakramabahu II (1236-1270
AD) of the Dambadeniya period, is said to have built the Saman Viharaya at Rat-
napura in honour of the deity Saman in fulfilment of a vow made by him before
engaging in gem mining. The Devalaya that stands today on top of a small hill is
the fulfilment of that vow.
Portuguese invaders ransacked the Devalaya in 1618 and the premises were razed
to the ground. Subsequently, during the days of King Rajasinghe II (1635-1687
AD) of Sitawaka, the Devalaya was restored at the original site. In the stone
ramparts in front of the Devalaya there is a plaque depicting a Portuguese soldier
killing a Sri Lankan nobleman in symbolic form. The destruction caused to the
Devalaya by the Portuguese is depicted by this plaque. To the right side of the
Devalaya is an image house that contains a seated statue of Buddha restored dur-
ing the Kandyan era.
The imposing two-storey Devalaya building is situated atop an elevated ground
from the lower terrace. Visitors have to climb a long steep granite stairway that
leads to a verandah - drumming hall. The entrance to the shrine room is ornament-
ed with a large Makara Thorana (dragon arch) in white, above the doorway which
leads to an inner sanctuary, where God Saman’s divine power prevails. Several
massive rounded columns in the drumming hall give a magnificent architectural
appearance to the imposing structure. From here, visitors can walk to the Budu Ge
(image house) and the shrine of Goddess Pattini on either side.

Celestial fortune Preserving for posterity Inherited legacy

At the main shrine, we observed the relics casket being carried in a covered pa-
lanquin with decorated costumes from the main shrine room of God Saman. After
the conclusion of the morning Pooja, devotees who carried the Pooja baskets lined
up on both sides leading to shrine room, before filing in and siting down on the
ground after handing over their baskets laden with fruits, hopes and vows. All the
baskets were taken into the shrine room and kept for some time until the chief Ka-
purala chants stanzas in a low hum and returns the baskets to the devotees.
Glancing at the walls of the drumming hall and inner main shrine room, we ob-
served, the walls had been painted over and over. Scraps of old paintings had
emerged from various places on the walls. One such huge painting which depicts
a figure of ‘Sivawatuka’ (Yaksha or demon) catching an elephant in the mouth
remains intact, on the wall of the drumming hall close to the entrance. Probably,
in ancient times there were two figures of this devil drawn on the walls, on both
sides of the doorway, but today, only one figure remains intact.
Most viewers of the pageant are mesmerised by the magnificient creation of Maha
Bamba Kolama which can only be seen at the Saman Devala Perahera. This figure
is an inherent feature of the pageant in Ratnapura. A huge two-faced figure of Maha
Bamba with a serene face on one side and fierce on the other side is a remarkable
feature. It is believed, this figure depicts the character of King Rajasingha I who
was considered to be fierce like a demon in anger and pleasant like a deity to the
virtuous.

Traditions through generations
Walking around the main shrine, we saw an ancient gun belonging to the Portu-
guese period, painted fresh and placed in a corner of the shrine room. It is known
as a Portuguese muzzle loading cannon which is fired at auspicious times to inform
the people about the start of the Perahera. Making the figure of Maha Bamba and
firing this muzzle loading gun is the duty of the person who performs “peramune
rajakariya” which loosely translates as “frontline work”. This duty passes from gen-
eration to generation.
Seeking fortune and good luck
God Saman is venerated as a pious deity and honoured as one of the four Guard-
ian Gods of Sri Lanka. The Sabaragamuwa Maha Saman Devalaya is frequented
by a large number of devotees including gem miners who invoke the blessings of
God Saman at the Devalaya. Others come to seek divine blessings for a cure or
any other wish. They throng here with fruit laden baskets which are offered to
the God. First, the fruits are cleaned and arranged in the baskets before being
offered to the God.
‘Perahera pola’
During the perahera period, the car park of the Devalaya is filled with vendors and
Perahera viewers as it is one of the best places to sell their goods ranging from
toys to household items. After seeking the blessings of the God and viewing the
pageant, most devotees throng the ‘Perahera Pola’ (market) to buy goods. How-
ever, a group of vendors who sell baskets of fruits and flowers stay in their stalls
permanently. They lament that their business is affected by the severe drought in
the area.