Flags of Sri Lanka

Many ancient Sri Lankan kingdoms had distinct flags featuring:

• Animals (lions, bulls, elephants, fish)
• Religious symbols (sun, moon, Bo tree)
• Weapons and deities

Here are images of the collection of ancient flags from the Colombo National Museum:

Note that almost all are monochromatic using a locally made dye and all done by hand.

Purposes:

1. Royal and Dynastic Symbols

• Used by kings and royal families to signify sovereignty, lineage, and divine authority.
• Example: The lion flag of the Sinhalese monarchy symbolized the ruling house and was often depicted in inscriptions and coinage.

2. Military Standards

• Carried into battle to represent kingdoms, regiments, or commanders.
• Acted as rallying points during warfare and conveyed identity and morale.
• The Valahā flag (bear) and lion flag were likely associated with provincial or military commands.

3. Provincial Administration

• Each province (Disavani) or sub-kingdom had its own unique flag, used to:
  • Represent the local ruler or chieftain.
  • Mark boundaries, camps, or official residences.
  • Assert regional identity under the larger kingdom (like in Kandy or Jaffna).

4. Religious and Temple Use

• Temple processions used flags adorned with symbols like the sun, moon, Bo leaves, conch, or bull to indicate divine protection or celestial blessing.
• Flags marked auspicious festivals (peraheras) and sacred relics being transported.

5. Ritual and Symbolic Purposes

• Flags were raised during coronations, royal decrees, or judicial ceremonies.
• Used to mark allegiance or tribute from vassals to overlords.

As these flags were used for various purposes and their format varied according to the use.

Quoting from superb article online:

“Flags always tell a story: a story of a people’s pride in their cultural heritage and their political status. In Sri Lanka flags and mentioned from earliest times and used in festivals of both a secular and religio-cultural nature, being carried by pennon-bearers or strung along processional routes.  Hereditary clans and castes had their own flags. So of course had the royal family which took pre­eminence over all others. Temples and monasteries had their special banners too as we know from the – mana’ cloths dating back to the 17th Century at least.

Most of the flags that are exhibited at the Museum are those dating back to what we call the Kandyan Period (circa 1400 to 1900 AD) when the last remnants of sovereignty in the island held sway in the interior kingdom within and surrounding the city of Kandy in the central hills. Hereditary chieftains held power from the ruler in Kandy in what as a feudal system socially, politically and culturally. Each district under its hereditary chieftain had its own flag, while the chief himself had the right to carry also his own family pennant when on tour or in any ceremonial procession. Flags of the Kandyan provinces are found in the Museum. Some belong to the old Kandyan feudal aristocracy but the number is small compared to the surviving number that have been traced to ancient temples and old family chests, jealously preserved by incumbents and descendants.”

Of all the artworks seen including the ones in the museums, here is one that had been de-accessioned by some descendant and had made its way to the commercial world of antique dealers. The colors and the simplicity attracted me immediately.

But the finesse and perfection of the lines of the main figure made this irresistible. For, in the recent past I have been studying kalamkari textiles and my eyes had become used to seeing the micro-features in the character of the drawings. In some the lines would be roughly done without a smooth flow. In others, the colors would not always be inside the lines – even in hand painted ones. And in others the strokes of the kalam were elegant – thick and thin drawn on the cloth exactly as the artist envisioned them in his mind – his hands trained in the skill of obeying the mind – over years and years of practice. And it is that maturity that was clearly evident in the artwork. Here it is for your viewing pleasure:

The figure itself has a strong ethnic identity. Further, the elaborate ornamentation of the figure is not only aesthetically pleasing, it is also rare when we compare this to figures in the museum flags. The style in which the figure is drawn is so evolved that it must have belonged to a particular school of art – even if small or restricted to a region. Surely if we were to view the entire universe of Sri Lankan flags and pennants, all those that survive even in the treasure chests of old families we will find others of this group and we will learn more about this unique and well-developed art school.

The figure is quite likely Hanuman but I’m still studying the subject to find out more. The sun and moon are often present in artworks of this group.

See more details of this masterpiece on the WOVENSOULS Art Gallery here: Link

2020 Antique Sri Lanka Flag Kalamkari Artwork 1700s

I think the wovensouls flag is in a class by itself. What do you think? Please share your thoughts in comments below.

***

jaina mishra

May 2025