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Somana (Chintz fabric), while commoners wear simpler versions. This understated

depiction of the employment of textiles in mural painting is consistent with the
prevailing societal hierarchies and cultural customs, adding to the narrative richness

and the visual richness of the paintings.

The application of Somana textiles in Sri Lankan mural paintings offers insights into

the functioning of cross-cultural exchange, the influence of foreign textile and social

stratification in the country's history. Somana cloth in these paintings signifies status,
power, and identity while reflecting the intricate social relationships and cultural

subtleties of Sri Lankan society. The more we venture into the study and examination
of the mural paintings, the further we comprehend the intricate interaction among

textiles, art, and social hierarchy. Kandy paintings examined, by means of the
endeavors of the artists, indicate a reflective understanding of social stratification and

the perpetuation of social hierarchies through attire. This bridged illiteracy barriers,

enabling a multicultural audience to understand and interpret the visual storytelling
and cross-cultural dialogue offered within the artworks.

Reference

Abeyawardana, H.A.P. (2004). Heritage of Ruhuna: Major natural, cultural and
historic sites. Colombo: The Central Bank of Sri Lanka. ISBN: 955-575-073-4. pp.15-
17

Arasaratnam, S. (1958). Dutch Power in Ceylon 1658-1687. The Netherlands Institute
for International Cultural Relations

Blumer, H. (2000). Fashion: From Class Differentiation to Collective Selection.The
Sociological Quarterly 10, no. 3,1969, pp. 275-291

Coomaraswamy, A. (1959). Medieval Sinhalese Art. Published by the National
Museum. Sri Lanka

Coomaraswamy, A.(1913). Art and Crafts of India and Ceylon. New Delhi:Today and
Tomorrow’s printers and publishers

Crill, R. (2008). Chintz- Indian Textiles for the West. V & A Publishing

Crill, R. (2015). Fabrics of India. V & A Publication

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