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anuradhapura sri lankasri lanka anuradhapura

Anuradhapura Moonstone — Mahasena Palace Steps (c. 7th–10th century CE)

Semicircular carved limestone threshold stone (sandakada pahana) at the Mahasena Palace stairway, Anuradhapura, Sri Lanka. One of the finest surviving examples of the distinctively Sri Lankan Buddhist architectural element. Carved with concentric bands depicting lotus petals, geese (hamsa), scrolling vines, cattle, horses, elephants, and lions. Anuradhapura period, c. 7th–10th century CE. In situ, UNESCO World Heritage Site.

Scholarly Significance

Introduce the Sri Lankan moonstone (sandakada pahana) as a uniquely Sri Lankan architectural sculpture form — the best-preserved example of Anuradhapura-period Buddhist ritual threshold design.

Patronage Context

The Mahasena Palace complex at Anuradhapura was constructed under Anuradhapura kingdom patronage. Individual moonstones were made as part of temple and palace stairway construction programmes.

Notes

  • ·The sandakada pahana (moonstone) is a uniquely Sri Lankan Buddhist architectural form — semicircular carved threshold stones placed at the base of stairways leading to temples, shrines, and palaces.
  • ·The iconographic programme of the Mahasena moonstone reads from outermost to innermost: flames (outer edge) → elephants → horses → cattle → lions → geese (hamsa) → scrolling vine → half-lotus (centre). The flame border is absent on the Mahasena example (it appears on later examples).
  • ·The symbolic interpretation: the concentric bands represent the four continents (lokas) surrounding Mount Meru, or stages of the path from samsara (outer animals symbolising desire) to liberation (inner lotus). This remains debated.
  • ·The geese (hamsa) represent souls crossing the threshold between the worldly and sacred domains.
  • ·The moonstone tradition evolved: early examples (c. 3rd–6th century) have the full animal-bird-vine programme; later examples progressively simplify or modify the iconography.
  • ·The Mahasena moonstone is universally cited in Sri Lankan art history as the canonical example of the form. It is included on all major surveys of Anuradhapura sculpture.