Palm Leaf writing and Coins of Ceylon

Lecture 11

1. Palm Leaf writing

Earlier man, used symbols for expression, later these symbols developed as letters and an
alphabet and writing has been evolved. There are enough examples of early cave paintings and
writings dating back to pre historic civilizations in Sri Lanka and worldwide. They were made
by our early ancestors at their leisure while resting after a hard days routine hunting expedition.
From sketches and writing in stone in caves, in tablets, and inscriptions, further developed to
writing on sand, clay tablets, wooden planks, tree trunks, linen and later on metal sheets such as
copper, silver and gold. First these writings were generally the Royal decrees, orders or
proclamations of their meritorious deeds.
Sri Lanka is one of the few countries in the world, which has a written history over 2000 years
old. With the arrival of Buddhism in Sri Lanka monasteries have been evolved and soon they
became famous seats of education and they have developed interactions with other Far Eastern
countries too. During early days all instructions of Dhamma has been passed from teacher to
student orally. This has necessitated a mode of sustenance such as writing, and one of the widely
used form of writing practiced in Sri Lanka is writing on palm leaves.
The leaves of tala palm (Corypha umbraculifera), were used for this, which is different from Tal
palm (Palmyra) abundantly found in Jaffna, Putalam areas. At first Royal decrees, messages and
grants were written on Palm leaf. The Mahavamsa mentions some early use of Palm leaf
writings such as the ascending to the throne by King Vijaya and his handing over the Kingdom
to his brother Sumittha etc. An important event in Palm Leaf writing and using them as books is
the writing of Tripitaka at Aluvihare Temlple, Matale.
Tala palm leaves are used by villagers to protect from rain as a cover (Tala atta, made in
triangular shape similar to Kulla (winnowing fan) and supported on forehead by a strap), as a
symbol of authority by Chieftains (Avu atttha-which is held by a second person), in sesath
(ceremonial Fans) making, to shelter the roofs and in weaving of magal (large mats), petti, etc.,
used mainly in agricultural activities.
The Palm leaf preparation for writing (ola) is done with a time tested technology. For writing
Tal palm sprout/bud (gobaya) is used and it has to removed/cut before it opens up. First phase is
to identify and mark a suitable tree. Normally the owner donates the sprout as this normally
used for meritorious purposes (write Buddhist teachings etc).
Then in an auspicious time this is cut and taken in a procession. After that the leaves are
detached, and their iratu (the mid ribs = ekel) are removed to get 2 leaves. These are loosely
wrapped as flat cylindrical rolls known as wattu. These rolls are then boiled for 2-3 hours in a
large pot of water, with keppetiya, pineapple and papaw leaves and pieces of young papaw. This
removes the stain and stickiness of the leaf. The wattu is then dried in sun for 2-3 days. Then
they are exposed to overnight dew and unrolled in the morning and allowed to dry for 3-4 hours
in shade, followed by drying in sun.
[Note Prepared by K.A.T. Nikapitiya]

The process is repeated for 2-3 days to season the leaves. Then they are suitable for long
storage, and for this the leaves are rolled again to form as 10-12 diameter cylinders and stored
over a smoked fire place/attic for future use.
Next stage is to prepare the leaf for writing. For this each leaf is tossed over a Geduma or
Rukkattana (Astonia scholasis) pole tied horizontally at a mans height. With the upward and
downward movement of the hand holding the leaf at one end, it is rubbed against the pole, and
to its other end tied a stone as a weight. The process is continued for about 10 min, to make the
both sides of the leaf smooth and polished.
After this the leaf is cut into required standard size (according to the intended use e.g. for
valuable books 2 spans (viyath) and 4 fingers, largest is 3 spans) and cut sheets are collected as a
bundle.
There is a technical way to make holes as given in a Sanskrit sloka (stanza). The top leaf is first
bent into three and after unfolding again it is bent to four. Two holes are made at the centre of
the pairs of line thus formed on the top leaf, by passing a heated iron rod through the bundle
(See figure below). Normally, after piercing first hole an areca nut pin is driven to it to keep the
bundle firm, before attempting on the second hole.
O
0

1/3
Hole

|
2/4

2/3

O
1 Divisions

Hole

Now, two flat end boards are kept on either side of the bundle and after pressing firmly the
protrusions on all four sides are sheared with a sharp knife. This bundle is now known as poth
gediya, and each leaf is called a path iruwa, and a set of 8 or 16 leaves numbered alphabetically
is the path kattuwa.
The writing on the palm leaf is a skilled job which needs a special training. For writing a metal
stylus (about 20 ins long) known as panhinda is used. It has five identifiable parts (see L2). The
top end chatra is flattened in a fan shape as a cutting edge. Below chatra is the decorated
section patra, and 3rd is nalaka. The 4th thumb rest is ganda and the lowest writing end with a
sharp point is (lekani). The panhinda has its own design and usually made in steel with nice
carvings and designs usually inlaid with brass, copper or silver and occasionally in gold.
The writer sits on a low stool known as dandasana. By holding 2-3 path iru in his left hand
above the knee and by keeping the panhinda in a groove specially manicured in left hand thumb
nail to hold a panhinda and with a circular motion of the thumb the letters are scratched on the
leaf. There are 3 sizes of letters (aksara), the spherical letters are gaja, square ones are sinha and
the smallest hansa. The sign used for full stop is kundalaya and the sign for repetitive word is
peyyalama which has 4 types according its position. The Ola writing is a slow process, and a
well trained person can write only 5-6 leaves (of 22 ins) a day. When writing is complete it has
to be blackened (kalumadinawa). This is done by applying a mixture of ground geduma
charcoal, lamp black with dummala (resin) oil with a rag, and this will give a clarity, shine and
insect resisatance. The excess black is removed by wiping the leaves after dusting them with
kurakkan flour, and after writing the all 4 sides of poth gediya is burnt with a heated iron to give
added security to seal off insect creeping through the leaves.

Next stage is to make the two poth kammba (book ends) or covers. Usually they are made in
wood, or rarely in Ivory. These book covers were intricately carved or painted (ivory ones are
unpainted) with traditional Sinhalese designs and motifs. It was common to have Brass, Copper,
Silver, and even Gold inlaid sheet metal jackets with similar design and motifs and sometimes
studded with semi precious stones on un-carved wooden book ends. The Book covers also had
two holes in identical positions as in palm as in poth gediya.
Now a two cords (Poth Lanuwa) each one end carrying a retainer eye known as sakaya (metallic
or semi precious stone), is passed through the two holes, and the excess chord lengths are
wrapped around the book. There is a procedure for this wrapping too, as given in a Sanskrit
stanza. Each thread at the top end should have 10 rounds, 5 at the centre and 3 at the third points
and should be done as pairs.
The talipot (ola) Decrees, letters and messages are tied in a different way. After writing they
were folded neatly and franked with the seal. Then they were tied with knots using a talipot
cord. The number of knots identifies the recipient. A single knot was added for an enemy, 2 for
a friend, 3 for relations, 4 for higher ups (lords), 5 for parents, brothers and sisters, 6 for
teachers, and 7 knots for King.
2. Coins of Ceylon
In Sri Lanka various coins have been used The first mention of usage of coins of Ceylon stats
from dates of King Vijaya, but it is just mentioned in numbers a thousand, hundred thousand etc
but meant kahapanas. The word kahapanas first appear in Mahavamsa in cap XXI. 26, that the
King Elara spent 15,000 kahapanas to replace 15 stones of the Cetiya-pabbata Chetiya of
Mihintale after accidentally knocking his chariot. There are enough mentions on after that as
King Dutugemunu reward to Archer Pussadeva by a heap of kahapanas large enough to bury his
upright arrow , and designer with gifts worth 12,000 kahapanas , and wages for men worked at
Brazen Palace by depositing 800,000 gold hiranna (= 8 kahapanas) at each four gates etc, etc.
The ancient coins were
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.

Eldings (Puranas or kahapanas),

Single Die coins of silver & copper
Early Pandyan,
Coins of various obverse types with swastika on reverse,
Rectangular Bull Type
The Mainless Lion( Mahasen Period (277-304 AD))
Plaques of Lukshmi & Swastika type
Roman ( Majority are third Brass(= issued Roman Agent Lived in Pandyan Kingdom, India) of
Constatine the Great & his Successor)
Indo- Roman of native make
(of 4, 5th & 6th Century)
Miscellaneous ( Parthian drachmas, Sassanian copper & Gupta hemidrachms)

Coins of Nisanka Malla period were available. After Tamil occupations the first King to mint his
own coins was the King Vijayabahu I, ( 1055-1111 AD) as no coins were minted during the
unsettled period. These were Gold silver and copper types. Later in Vijayabahu (II) period coins
had Kings name on one side & swastika on reverse. The coins of Parakramabahu I, resembles
the gold RajaRaja and had Sri on them. The gold coin was Lnkeswara, Lion coin and massa and
half massa were in silver etc. Coins were minted by Queen Leelawathi, and by other Kings too.

The coins of 12th and 13th centuries were known as Dambadeniya coins in general. Then in the
Medieval Indian coins were in exchange in Ceylon They were the Pallawa, Cola and Pandya,
Kongu and Cera types. These were followed by Portuguese coins such as larings, gold and
silver fannemi etc. etc (These details are not discussed here as they are beyond the scope of this
course) These were followed by Dutch coins such as Milled Ducatoon, Old Ducatoon, New
Nagapattam and Tuticorin Pagoda Surat Rupee, Pulicat and East Indian Co or VOC coins etc.,
with various coins used in other neighbouring Dutch colonies, which too were in legal tender
and in circulation here (these details are not discussed, as they are beyond the scope of this
course). This was followed by British but at their early period they continue to use the Dutch
coins such as Rixdollar etc., according to the proclamation signed with the Dutch.. Later in the
British period these coins were followed by their own Challies, Stivers, Fanams etc, together
with the majority of other coins of the neighbouring British colonies. With the passage of time
the Rupees and cents and coins of various denominations of cents came into existence.
For More Details See Codrington H.W., Ceylon Coins and Currency, Series A No3, Memoirs of the Colombo
Museum, Colombo 1924, 3rd Reprint 1993, Dept of National Museum, Colombo.

Technology of Minting: Except the proportions of alloys used, very little information is
available in the literature on techniques adopted in minting the ancient coins, in Sri Lanka.
However, with all probability it could be surmise that this was done by casting the coins in gold,
silver and copper (and their alloys) by pressing a metal sheet firmly into a die mould of the
obverse side by beating hard on to an object carrying the die of reverse side at its other end. In
plaque type coins each side was cast separately and soldered together (Codrington H.W, p 27,
Ibid). Most of the Romans coins came minted, but some were minted locally. However the
clarity of details of the latter type was poor. The Portuguese, Dutch and English coins were not
made locally but were always brought to Ceylon as imported .
3. General
Some Common Names Used in this Lecture Series and Their Corresponding
Botanical/Technical Names. ( for information only)
Common Name
patangi
hin bovitiya
Bombu
Kebella
Alu
Ratmal
Hevan
Galehe
Indi kola
Tala=Talipot= ola
Kaha
Kiribat mul
Niyada
Ve-vel= rattan=cane
Korakaha
Palmyra

Botanical Name
Casalpinia sappan
Osbeckia octandra
Symplocos spicata
Aporosa Lindleyana
Morinda tinctoria
Knoxia platycarpa
Cyperusdehiscens
C. corymbosus
Phoenix zeylanica
Corypha umbraculifera
Bixa orellana
Knoxia platycarpa
Sansevierria zelanica
Calamus Roxburghi
Memecylon umbellatum
Borassus flabelliformis

Common Name
Kos kiri= kohelle
Kitul
Dorana
Gokatu
Rukattana
Milla
Gammalu
Sadilingam
Ratmal
Ratu kaha
Dorana
Badama
Hiriyal
Ran Hiriyal
Gokatu
Badulla

Botanical Name
Artocarpus integrifolius
Caryota urens
Dipterocarpus grandulosus
Garcinia Morella
Astonia scholasis
Vitex altssima
Pterocarpus Marsupium
Cinnabar
Ixora coccine
Bixa orellana
Fipterocarpus glandulosus
Varnish
Orpiment in lump
Orpiment scaly
Garcinia Morella
Semicapus Gardneri