mask, raja mulu sanni yaka, maha-kola sanni yaka

Iconography
The specimens 1916.9.317, 320-322, 326-327 resemble each other vis-à-vis basic sculptural features.

The mask symbolises the family of eighteen diseases. The mask is tall, broad and very heavy. It is in the form of a triptych. The upright standing figure, sculpted on the central section, symbolises the Maha-kola sanni yaka. The smaller masks on the two flanks represent the diseases caused by his retinue.

The central section contains the standing figure of the demon. It is tall and displays a ferocious appearance. The demon stands upright with the feet placed on the head of a facemask. It tramples two human bodies, presumably those of two young boys. These appear to be the human sacrifices, called nara bili (Sin.), made to the gigantic demon. The dress is a chintz, chittaya (Sin.), with an embroidered hem. The rest of the waistcloth is neatly ornamented with flower, petal and leaf motifs, painted in red, yellow and green. The waist-girdle is decorated in tendril design. He wears a thin neck-girdle. The hands are bent at the wrists and stretch upwards. The fingers are shaped like a forked prop with sufficient space to hold two corpses. (In this specimen there aren't any corpses clinging to the chest, or lying prostrate in the mouth. This is in contrast to the other specimens referred to above.) It appears that there have been such human bodies earlier. These have presumably been dropped in the process of handling.

There are two masks, one at the bottom and one on the top. The bottom mask resembles that of a gara demon. The one at the top is in the shape of a cobra demon's mask.
The bottom mask is included here because both the gara demon and the Maha-kola sanni yaka reveal similar origins. Both were prince-demons. Gara yaka is always depicted as pot-bellied, as is noticed here. The ears display traditional motifs; lotus petals are drawn in white inside the discs, and the pistil carved in low relief is painted in yellow. Instead of the tusks extending from the corners of the mouth touching the centre of the ear-disc, which is a regular feature of in the masks of the gara demon group, the eye-teeth are confined only to the corners of the mouth. This is a feature in the Maha-kola sanni masks in this collection; vide specimens 1916.9.320-321, 326-327.

The mask at the top of the figure resembles that of a naga raksaya (vide Preface). It has five cobra-hoods referred to as vattuva (Sin.). The eyebrows display the usual petal motif. The two ear-discs contain the normal design of the lotus flower.

Two cobras frame the whole figure.

Dr. M. H. Goonatilleka

1916.9.320

Name and identification of character
The head of the Sanni demon family, referred to by several names: Maha-kola sanni yaka, Raja-mulu sanni yaka, Daha-ata sanniya/yaka (Sin.).

Context
The character occupies the main role in the exorcistic demon ritual popularly known as the Sanni yakuma (Sin.), or the Daha-ata sanniya (Sin.). The mask is not used in dance, although some dancers are of the opinion that it has been utilised for dance earlier on. The enormous dimensions of the mask in addition to its heavy weight do not hold that opinion tenable. Moreover, the mask cannot be sunk on to the head of the dancer as it has no lower part to rest on the wearer's shoulders. During the present day performances the mask is placed on the side of the ritual arena, referred to as kärakena vidiya (Sin.), either flat on a mat or in an erect position supported by chairs. The writer has come across narrative verses sung in the ritual, which refer to this mask as an image called Maha-kola baliya (Sin.). The ritual arena symbolises the abode of the demon. It is therefore possible that the mask was not worn by any dancer, but, as it symbolises the overlord of all diseases who commissions the assistants to cause and cure particular ailments, its symbolical and visual presence is portrayed by placing the mask inside the ritual arena, to be seen by the patient and onlookers.

Material
Wood, vel-kaduru (Sin.) (Nux vomica). The structure rests on several wooden bars and chipped pieces of areca or coconut logs. Thick layers of paint are noticed, especially on the faces.

Dr. M. H. Goonatilleka