365bet娱乐

English Text:

Ivory Carvings鈥擲ince the beginning of human civilization, ivory has been used by people for jewelry and sculpture. It is said that even the royals engaged in the ivory industry as a hobby. This art was most popular during the Kandyan period. Since the Medieval era, Sri Lanka has been famous for exporting elephants and ivory to Europe and other Asian and Arab countries. As a trading town, ivory carving became very popular, especially in the vicinity of Galle. Evidence shows that most of the ivory items presently found in museums and antique shops abroad were brought from the Galle area as commodities. Ivory has been used to create high-quality decorative carvings and valuable items. These designs reflect the skills of the ivory carvers. These creations, which date back to the Portuguese and Dutch coastal areas, are engraved with historical and religious significance, decorative and practical items such as Buddha statues, relic caskets, medicine chests, spoons, beauty boxes, combs, hair pins, toothpicks, perfume spray, bookcases, and jewelry boxes are among them. Ivory sculptors, who represented the upper social class among the artist and were also mastered of art of fresco.

Ivory Comb; Ivory Panel; Ivory Casket; Ivory Fan; Ivory Fan Handle; Ivory Phil Boxes; Sent Sprayer (Simbidiya)

Sinhala text (not proofread):

喽囙董喾娻动喾� 喽氞窅喽о逗喽膏穵鈥斷陡喽编窋喾傕穵鈥嵿逗 喾佮窉喾傕穵喽о窂喽犩窂喽秽逗喾� 喽嗋痘喽膏穵喽粪逗喾� 喾冟窉喽о陡 喽膏窉喽编窉喾冟窂 喾�喾掄穬喾掄侗喾� 喽嗋斗喽秽东 喾勦窂 喽膏窎喽秽穵喽�喾� 喽嗋动喾� 喽编窉喽秽穵喽膏窂喽� 喾冟冻喾勦窂 喽囙董喾娻动喾� 喽亨窚喽�喾忇稖喾� 喽囙董. 喽秽窂喽⑧稓喾撪逗喽亨侗喾� 喽脆穩喾� 喾�喾掄侗喾澿动喾忇秱喾佮逗喽氞穵 喽洁窓喾� 喽囙董喾娻动喾� 喽氞痘喾娻陡喾忇侗喾娻董喽亨窔 喽编窉喽亨窅喾呧窋喽�喾� 喽多穩喽� 喽�喾溹痘喽�喾斷痘喾� 喾冟冻喾勦侗喾� 喾�喾�. 喽氞督喾忇穩 喾�喽┼窂喽�喾� 喽脆穵鈥嵿痘喽犩督喾掄董 喾�喾栢逗喾� 喽膏穭喽编窋喾�喽� 喾冟陡喽亨窔 喽�喾撪��. 喽膏栋喾娾�嵿逗喽氞窂喽洁窊喽� 喾冟陡喽亨窔 喾冟窉喽� 喽亨窋喽秽窛喽脆逗喽� 喾冟穭 喾�喾權侗喽�喾� 喽嗋穬喾掄逗喾忇侗喾� 喽� 喽呧痘喾忇抖喾� 喽秽锭喾�喽洁锭 喽囙董喾斷侗喾� 喾冟穭 喽囙董喾娻动喾� 喾�喾權穮喽� 喽粪窂喽�喾娻订喽亨稓喾� 喽洁窓喾� 喽呧洞喽编逗喽编逗 喽氞窉喽秽窊喽� 喾冟陡喾娻抖喽编穵喽班逗喾權侗喾� 喾佲�嵿穵鈥嵿痘喾� 喽洁秱喽氞窂喾� 喽膏穭 喽脆穵鈥嵿痘喾冟窉喽�喾娻栋喾掄逗喽氞�� 喽夃穬喾掄督喾撪逗. 喾�喾權穮喽� 喽编稖喽秽逗喽氞穵 喾�喾� 喽编窉喾冟窂 喾�喾掄穪喾氞穫喽亨窓喽编穵喽� 喽溹窂喽洁穵喽� 喽嗋穪喾娾�嵿痘喾掄董喾� 喽囙董喾娻动喾� 喽氞窅喽о逗喽膏穵 喽氞督喾忇穩 喽�= 喽脆穵鈥嵿痘喾冟窉喽�喾娻栋喾掄逗喽� 喽脆董喾娻穩喾掄逗. 喽�喾愢侗喽� 喾�喾掄动喾氞穪喽亨侗喾娻穭喾� 喽氞窞喽�喾斷稓喾忇稖喾忇痘喾�喽� 喾冟穭 喽氞窞喽�喾斷�� 喽粪窂喽�喾娻�� 喾�喾權穮喽赤穬喾愢督喾娻穩喽� 喽囙董喾� 喽囙董喾娻动 喽粪窂喽�喾娻�� 喽多窚喾勦窚喽膏逗喽氞穵 喾�喾權穮喽� 喽粪窂喽�喾娻�� 喾�喾佮逗喾權侗喾� 喽溹窂喽洁穵喽� 喽脆穵鈥嵿痘喽�喾氞穪喽亨窓喽编�� 喽溹窓喽编稖喾掄逗 喽掄穩喾� 喽多穩喽� 喾冟窂喽班稓 喽�喾掄抖喾�. 喽囙董喾娻动 喽粪窂喾�喾掄董 喽氞痘 喽囙董喾娻董喾� 喽溹窋喽�喾忇董喾娻陡喽� 喽多穩喾掄侗喾� 喽亨窋喽�喾� 喾�喾掄穬喾掄董喾斷痘喾� 喽氞窅喽о逗喽膏穵 喾冟穭 喽脆穵鈥嵿痘喽亨窛喽⑧侗喾�喽�喾� 喽粪窂喽�喾娻�� 喽编窉喽秽穵喽膏窂喽�喽� 喽氞窉喽秽窊喽� 喾冟冻喾勦窂喽� 喽膏窓喽� 喽编窉喽秽穵喽膏窂喽� 喽囙董喾娻动喾� 喽氞窅喽о逗喽膏穵 喾佮窉喽洁穵喽脆窉喽亨窂喽溹窔 喽编窉喽脆窋喽�喽�喾娻穩喽� 喾勦窂 喽�喽氞穵喾傕董喾忇穩 喽脆窉喾呧窉喽多窉喽灌窋 喽氞痘喽亨窉. 喽脆窐喽�喾斷稖喾撪穬喾� 喾勦窂 喽曕督喽编穵 喽膏窋喾勦窋喽�喾� 喽多订 喽脆穵鈥嵿痘喽�喾氞�� 喽脆窂喽洁侗 喽氞窂喽洁逗 喾冟陡喽亨侗喾� 喾勦窉 喽编窉喽膏窅喾�喾斷东喾� 喽膏窓喽� 喽氞窐喽�喾掄穩喽� 喽撪董喾掄穭喾忇穬喾掄稓 喾勦窂 喽嗋稖喽膏窉喽� 喾�喾佮逗喾權侗喾� 喾�喾愢动喽溹董 喾�喾掄穪喾氞穫 喾冟窉喽�喾斷穩喾撪陡喾� 喽氞窅喽о逗喽膏穵 喽氞痘 喽�喾掄抖喾�. 喽多窋喽�喾娻�� 喽脆穵鈥嵿痘喽�喾掄陡喾�, 喽班窂喽�喾� 喽氞痘喽�喾�, 喽多窓喾勦窓喽�喾� 喽氞窚喽脆窋, 喾勦窅喽赤窉, 喽秽窎喽脆督喾忇穩喽编穵鈥嵿逗 喽膏秱喽⑧窋喾冟窂, 喽脆侗 喽氞窚喽�喾娻订喾� 喽氞窋喽秽窋, 喽�喽�喾娻稓喾斷痘喾�, 喾冟窋喾�喽赤穩喾掄督喾�喾斷侗喾� 喽夃穬喾掄侗 (喾冟窉喽灌窉喽┼窉喽�), 喽脆窚喽�喾� 喽氞陡喾娻抖喾�, 喽嗋斗喽秽东 喽膏秱喽⑧窋喾冟窂 喽嗋动喾� 喽呧督喽傕稓喾忇痘喾掄稓 喾勦窂 喽嬥洞喽亨窛喽溹窊 喽粪窂喽�喾娻�� 喽� 喽呧董喽� 喾�喾�. 喽氞督喾� 喾佮窉喽洁穵喽脆窊喽编穵 喽呧董喽� 喽夃穭喾� 喾冟穵喽�喽秽�� 喽编窉喽亨窛喽⑧侗喽� 喽氞穮 喽囙董喾娻动喾� 喽氞窅喽о逗喽膏穵 喾佮窉喽洁穵喽脆窊喾傕窋 喾冟窉喽�喾斷穩喽膏穵 喽氞督喾忇穩喽� 喽脆穵鈥嵿痘喽溹窋喽� 喽氞穮 喽呧逗 喾�喾栢穭.

喽囙董喾娻动喾� 喽脆侗喾忇穩喽氞穵, 喽囙董喾娻动喾� 喽脆侗喾氞督喽亨稓喾�, 喽囙董喾娻动喾� 喽膏秱喽⑧窋喾冟窂喾�喽氞穵, 喽囙董喾娻动喾� 喾�喾掄盯喾掄侗喾掄洞喽�喽氞��, 喽囙董喾娻动喾� 喾�喾掄盯喾掄侗喾掄洞喽�喾� 喽膏窉喽о稓喾�, 喽囙董喾娻动喾� 喽多窓喾勦窓喽�喾� 喽膏秱喽⑧窋喾冟窂, 喾冟窉喽多窉喽┼窉喽�

Transcription:

忙tda岣穉 k忙峁璦yam鈥�尘补苍耻峁�y补 艣i峁ａ弓膩ch膩ray膿 膩rambhay膿 蝉颈峁璦ma minis膩 visin 膩bhara峁嘺 h膩 尘奴谤迟颈 膩d墨 nirm膩峁嘺 sandah膩 忙tda岣穉 yod膩ge 忙ta. r膩jak墨yayan 辫补惫腻 vin艒d膩峁吪沘yak lesa 忙tda岣穉 karm膩ntay膿 niy忙岣穟峁噓 bava峁璦 toraturu sandahan v膿. 办补濒腻va va岣嵞乼 prachalita v奴y膿 mahanuvara samay膿 d墨ya. madhyak膩l墨na samay膿 蝉颈峁璦 yur艒paya峁璦 saha venat 膩siy膩nu pa ar膩bi ra峁璦vala峁璦 忙tun saha 忙tda岣穉 ve岣穉nda 产丑腻峁囜笉补yak lesa apanayanaya kir墨ma sambandhayen 艣a喾妑墨 la峁卥膩va maha prasiddhiyak isil墨ya. ve岣穉nda nagarayak v奴 nis膩 vi艣膿峁�ayenma g膩lla 膩艣ritava 忙tda岣穉 k忙峁璦yam 办补濒腻va i= prasiddhiya峁璦 patviya. d忙na峁璦 vid膿艣ayanhi kautuk膩g膩ravala saha kautuka 产丑腻峁囜笉补 ve岣穉ndas忙lvala 忙ti 忙tda 产丑腻峁囜笉补 bohomayak ve岣穉nda 产丑腻峁囜笉补 va艣ayen g膩lla 辫谤补诲脓艣补yen genagiya 膿v膩 bava峁璦 s膩dhaka tib膿. 忙tda bh膩vita kara 忙tt膿 gu峁嚹乼maka bavin yut visituru k忙峁璦yam saha pray艒janavat 产丑腻峁囜笉补 nirm膩峁嘺ya kir墨ma sandah膩ya mema nirm膩峁嘺 忙tda岣穉 k忙峁璦yam 艣ilpiy膩g膿 nipu峁嘺tvaya h膩 dak峁�at膩va pi岣穒bi岣卽 karayi. prutug墨s墨 h膩 艒lan muhudu 产补岣峚 辫谤补诲脓艣补 辫腻濒补苍补 办腻濒补测补 samayan hi nim忙vu峁噓 mema krutivala aitih膩sika h膩 膩gamika va艣ayen v忙dagata vi艣膿峁�a siduv墨m k忙峁璦yam kara tib膿. buddha 辫谤补迟颈尘腻, 诲丑腻迟耻 办补谤补峁囜笉耻, behet kopu, h忙ndi, r奴pal膩vanya ma峁卝us膩, pana 办辞峁囜笉腻 kuru, datkuru, suvandavilavun isina (si岣卛岣峣ya), pot 办补尘产腻, 膩bhara峁嘺 ma峁卝us膩 膩d墨 ala峁卥膩rika h膩 upay艒g墨 产丑腻峁囜笉补 膿 atara v膿. 办补濒腻 艣ilp墨n atara iha岣穉 stharaya niy艒janaya 办补岣穉 忙tda岣穉 k忙峁璦yam 艣ilp墨峁�u situvam 办补濒腻vada pragu峁嘺 办补岣穉 aya v奴ha.

忙tda岣穉 pan膩vak, 忙tda岣穉 pan膿layak, 忙tda岣穉 ma峁卝us膩vak, 忙tda岣穉 vijinipatak, 忙tda岣穉 vijinipat mi峁璦k, 忙tda岣穉 behet ma峁卝us膩, sibi岣峣ya

Transcription:

atdala katayam鈥�manushya shishtacharaye arambhaye sitama minisa visin abharana ha murti adi nirmana sandaha atdala yodage ata. rajakiyayan pava vinodanshayak lesa atdala karmantaye niyalunu bavata toraturu sandahan ve. kalava vadat prachalita vuye mahanuvara samaye diya. madhyakalina samaye sita yuropayata saha venat asiyanu pa arabi ratavalata atun saha atdala velanda bhandayak lesa apanayanaya kirima sambandhayen sha喾妑i lankava maha prasiddhiyak isiliya. velanda nagarayak vu nisa visheshayenma galla ashritava atdala katayam kalava i= prasiddhiyata patviya. danata videshayanhi kautukagaravala saha kautuka bhanda velandasalvala ati atda bhanda bohomayak velanda bhanda vashayen galla pradeshayen genagiya eva bavata sadhaka tibe. atda bhavita kara atte gunatmaka bavin yut visituru katayam saha prayojanavat bhanda nirmanaya kirima sandahaya mema nirmana atdala katayam shilpiyage nipunatvaya ha dakshatava pilibi岣卽 karayi. prutugisi ha olan muhudu bada pradesha palana kalaya samayan hi nimavunu mema krutivala aitihasika ha agamika vashayen vadagata vishesha siduvim katayam kara tibe. buddha pratima, dhatu karandu, behet kopu, handi, rupalavanya manjusa, pana konda kuru, datkuru, suvandavilavun isina (si岣卛diya), pot kamba, abharana manjusa adi alankarika ha upayogi bhanda e atara ve. kala shilpin atara ihala stharaya niyojanaya kala atdala katayam shilpishu situvam kalavada praguna kala aya vuha.

atdala panavak, atdala panelayak, atdala manjusavak, atdala vijinipatak, atdala vijinipat mitak, atdala behet manjusa, sibidiya

Automated translation:

Ivory Carving鈥擡ver since the dawn of human civilization, humans have used ivory to create jewelry and sculptures. It is said that even the royals were engaged in the ivory industry as a hobby. The art became more popular during the Kandy period. Since the Middle Ages, Sri Lanka has been famous for exporting elephants and tusks to Europe and other Asian and Arab countries as merchandise. As it was a trading city, the art of ivory carving became famous especially around Galle. There is evidence that most of the items currently in museums and artefact shops abroad were brought from Galle as merchandise. Ivory has been used to create quality decorative carvings and utilitarian items, these designs reflect the skill and skill of the ivory carver. Historically and religiously important special events are carved in these works, which were made during the periods of Portuguese and Olan maritime rule. Among them are decorative and utilitarian items such as Buddha statues, relic caskets, medicine sheaths, spoons, cosmetic manjusa, pana konda kuru, tooth kuru, scented spray (simbidiya), book kamba, jewelry manjusa etc. The ivory carvers who represented the upper class among the artists were those who also mastered the art of painting.

Ivory Comb, Ivory Panel, Ivory Manjusa, Ivory Vijinipat, Ivory Vijinipat Handle, Ivory Medicine Manjusa, Cibidia

Tamil text (not proofread):

喈�喈距�┼瘓喈む瘝喈む�ㄠ瘝喈� 喈掂瘒喈侧瘓喈�喁嵿��喈距疅喁佮畷喈赤瘝鈥斷��喈┼�苦�� 喈ㄠ�距畷喈班瘈喈曕��喁� 喈嗋�班��喁嵿��喈苦�む瘝喈� 喈曕�距�侧��喁� 喈む瘖喈熰畷喁嵿畷喈�喁� 喈嗋��喈班�｀畽喁嵿畷喈赤�� 喈�喈编瘝喈编瘉喈�喁� 喈氞�苦�侧瘓喈曕�赤�� 喈嗋畷喈苦��喈掂�编瘝喈编�� 喈ㄠ�苦�班瘝喈�喈距�｀�苦畷喁嵿畷喁佮��喁� 喈�喁嬥�む瘉 喈呧�掂�编瘝喈编�苦�┼�苦疅喁堗��喁� 喈�喈距�┼瘓喈む瘝 喈む�ㄠ瘝喈む畽喁嵿畷喈赤瘓喈�喁佮��喁� 喈�喈┼�苦�む�┼瘝 喈夃��喈�喁嬥畷喈苦�む瘝喈む瘉喈赤瘝喈赤�距�┼瘝. 喈呧�班�� 喈曕瘉喈熰瘉喈�喁嵿��喈む瘝喈む�苦�┼�班瘝 喈む��喈む瘉 喈�喁娻�脆瘉喈む瘉喈�喁嬥畷喁嵿畷喈苦�编瘝喈曕�距畷喈掂瘉喈�喁� 喈�喈距�┼瘓喈む瘝 喈む�ㄠ瘝喈む�む瘝 喈む瘖喈脆�苦�侧瘓 喈�喁囙�编瘝喈曕瘖喈｀瘝喈熰�苦�班瘉喈ㄠ瘝喈む�┼�班瘑喈� 喈掂�班�侧�距�编瘝喈编瘉喈む瘝 喈む畷喈掂�侧瘝喈曕�赤瘝 喈曕瘋喈编瘉喈曕�苦�┼瘝喈编��. 喈曕�｀瘝喈熰�苦�� 喈囙�班�距畾喁嵿畾喈苦�� 喈曕�距�侧畷喈熰瘝喈熰�む瘝喈む�苦�侧�� 喈囙�ㄠ瘝喈む畷喁� 喈曕瘓喈む瘝喈む瘖喈脆�苦�侧瘝 喈�喈苦畷喈掂瘉喈�喁� 喈�喈苦�班畾喈苦�む瘝喈む�� 喈�喁嗋�编瘝喈编�苦�班瘉喈ㄠ瘝喈む�む��. 喈�喈む瘝喈む�苦�� 喈曕�距�侧畷喈熰瘝喈熰��喁� 喈む瘖喈熰畷喁嵿畷喈�喁� 喈掂瘑喈曕瘉喈曕�距�侧��喁� 喈掂�班�� 喈愢�班瘚喈�喁嵿��喈苦��, 喈嗋畾喈苦�� 喈�喈编瘝喈编瘉喈�喁� 喈呧�班瘒喈�喈苦�� 喈ㄠ�距疅喁佮畷喈赤瘉喈曕瘝喈曕�� 喈�喈距�┼瘓喈曕�赤��, 喈�喈距�┼瘓喈む瘝 喈む�ㄠ瘝喈む畽喁嵿畷喈赤�� 喈庎�┼瘝喈�喈掂�编瘝喈编�� 喈掂�班瘝喈む瘝喈む畷喈む瘝喈む�苦�编瘝喈曕�距畷 喈忇�编瘝喈编瘉喈�喈む�� 喈氞瘑喈�喁嵿��喈�喁嵿��喈熰瘝喈熰��喁� 喈む瘖喈熰�班瘝喈�喈距畷喈掂瘉喈�喁� 喈囙�侧畽喁嵿畷喁� 喈�喈苦�班畾喈苦�む瘝喈む�� 喈�喁嗋�编瘝喈编�苦�班瘉喈ㄠ瘝喈む�む��. 喈む�编瘝喈�喁嬥�む�� 喈掂瘑喈赤�苦�ㄠ�距疅喁嵿疅喁� 喈ㄠ瘋喈む�┼畾喈距�侧瘓喈曕�赤�苦�侧瘉喈�喁�, 喈呧�班瘉喈�喁嵿��喁娻�班瘉喈熰瘝喈曕�赤瘝 喈掂�苦�编瘝喈�喈┼�� 喈ㄠ�苦�侧瘓喈�喈權瘝喈曕�赤�苦�侧瘉喈�喁� 喈夃�赤瘝喈� 喈�喈距�┼瘓喈む瘝 喈む�ㄠ瘝喈む��喁� 喈�喁娻�班瘉喈熰瘝喈曕�赤�� 喈曕�距�侧�苦��喈苦�侧�苦�班瘉喈ㄠ瘝喈む瘉 喈掂�苦�编瘝喈�喈┼瘓喈曕瘝喈曕�距畷 喈庎疅喁佮�む瘝喈む瘉喈氞�� 喈氞瘑喈侧瘝喈侧��喁嵿��喈熰瘝喈熰�掂�� 喈庎�┼瘝喈�喈む�编瘝喈曕�距�� 喈嗋�む�班�距畽喁嵿畷喈赤�� 喈夃�赤瘝喈赤��. 喈�喈苦畷喈掂瘉喈�喁� 喈�喁嗋�编瘉喈�喈む�� 喈�喈苦畷喁嵿�� 喈呧�侧畽喁嵿畷喈距�班��喁� 喈�喁娻�班瘉喈熰瘝喈曕�赤�� 喈ㄠ�苦�班瘝喈�喈距�｀�苦��喁嵿��喈む�编瘝喈曕瘉 喈囙�ㄠ瘝喈� 喈�喈距�┼瘓喈む瘝 喈む�ㄠ瘝喈む畽喁嵿畷喈赤�� 喈�喈�喈┼瘝喈�喈熰瘉喈む瘝喈む��喁嵿��喈熰瘝喈熰瘉喈赤瘝喈赤��. 喈囙�掂瘝喈掂�距�编�� 喈ㄠ�苦�班瘝喈�喈距�｀�苦畷喁嵿畷喈�喁嵿��喈熰瘝喈� 喈�喈距�┼瘓喈む瘝 喈む�ㄠ瘝喈� 喈掂瘒喈侧瘓喈�喁嵿��喈距疅喁佮畷喈赤�� 喈曕瘖喈｀瘝喈� 喈�喁娻�班瘉喈熰瘝喈曕�赤�� 喈�喁嗋�编瘉喈�喈む�� 喈�喈苦畷喁嵿畷喈む�距畷喈掂瘉喈�喁�, 喈呧�む�┼瘓 喈ㄠ�苦�班瘝喈�喈距�｀�苦�む瘝喈� 喈氞�苦�编瘝喈�喈苦��喈苦�┼瘝 喈む�苦�编��喁堗��喁� 喈庎疅喁佮�む瘝喈む瘉喈曕�� 喈曕�距疅喁嵿疅喁佮�掂�む�距畷喈掂瘉喈�喁� 喈夃�赤瘝喈赤��. 喈曕疅喈侧瘚喈班��喁� 喈�喈苦�班�む瘒喈氞畽喁嵿畷喈赤�苦�侧�� 喈�喁嬥�班瘝喈む瘝喈む瘉喈曕瘝喈曕瘒喈�, 喈掄�侧瘝喈侧�距�ㄠ瘝喈む�班瘝喈曕�赤�苦�┼�� 喈嗋疅喁嵿畾喈苦畷喁� 喈曕�距�侧�む瘝喈む�苦�侧�� 喈ㄠ�苦�班瘝喈�喈距�｀�苦畷喁嵿畷喈�喁嵿��喈熰瘝喈� 喈�喁娻�班瘉喈熰瘝喈曕�赤�苦�侧�� 喈掂�班�侧�距�编瘝喈编瘉喈氞瘝 喈氞�苦�编��喁嵿��喁� 喈掂�距��喁嵿�ㄠ瘝喈� 喈�喈� 喈掂�脆�苦��喈距疅喁佮畷喈赤瘝 喈む瘖喈熰�班瘝喈�喈距�� 喈ㄠ�苦畷喈脆瘝喈掂瘉喈曕�赤瘝 喈掂瘒喈侧瘓喈�喁嵿��喈距疅喁佮畷喈赤�距畷喈氞瘝 喈氞瘑喈む瘉喈曕瘝喈曕��喁嵿��喈熰瘝喈熰瘉喈赤瘝喈赤��. 喈�喁佮�む瘝喈む�班�� 喈�喈熰�苦��喈權瘝喈曕�赤��, 喈�喁佮�┼�苦�� 喈む�ㄠ瘝喈む��喁� 喈�喁囙�脆瘓, 喈�喈班瘉喈ㄠ瘝喈む瘉喈�喁� 喈�喁佮疅喁嵿疅喈苦畷喈赤��, 喈曕��

喈�喈距�┼瘓喈む瘝喈む�ㄠ瘝喈� 喈氞瘈喈�喁嵿��喁�; 喈�喈距�┼瘓喈む瘝喈む�ㄠ瘝喈む畾喁� 喈氞疅喁嵿疅喈�喁�; 喈�喈距�┼瘓喈む瘝喈む�ㄠ瘝喈む��喁� 喈�喁嗋疅喁嵿疅喈�; 喈�喈距�┼瘓喈む瘝喈む�ㄠ瘝喈� 喈掂�苦畾喈苦�编��; 喈�喈距�┼瘓喈む瘝喈む�ㄠ瘝喈� 喈掂�苦畾喈苦�编�苦��喈苦�┼瘝 喈曕瘓喈�喁嵿��喈苦疅喈�; 喈�喈距�┼瘓喈む瘝喈む�ㄠ瘝喈� 喈�喈班瘉喈ㄠ瘝喈む瘉喈�喁� 喈�喁嗋疅喁嵿疅喈苦畷喈赤��; 喈む瘑喈赤�苦��喁嵿��喈距�┼瘝

Transcription:

y膩峁塧ittanta v膿laipp膩峁璾ka岣封�攎a峁塱ta n膩kar墨kam 膩rampitta 办腻濒补尘 to峁璦kkam 膩para峁嘺峁卥a岣� ma峁熱篃um cilaika岣� 膩kiyava峁熱篃ai nirm膩峁噄kkum p艒tu ava峁熱篃i峁塱峁璦iy膿 y膩峁塧it tanta峁叞觳贯阜aiyum ma峁塱ta峁� upay艒kittu岣丰阜膩峁�. araca ku峁璾mpatti峁塧r tamatu po岣籾tup艒kki峁焝膩kavum y膩峁塧it tantat to岣籭lai m膿峁焝o峁囜弓irunta峁塧re峁塧 varal膩峁熱篃ut takavalka岣� k奴峁焨ki峁夅篃a峁塧. ka峁囜弓iya ir膩cciya k膩laka峁�峁璦ttil intak kaitto岣籭l mikavum piracitti pe峁熱篃iruntatu. mattiya k膩laka峁�峁璦m to峁璦kkam veku办腻濒补尘 varai air艒ppiya, 膩ciya ma峁熱篃um ar膿piya n膩峁璾ka岣穟kku y膩峁塧ika岣�, y膩峁塧it tanta峁卥a岣� e峁塸ava峁熱篃ai varttakatti峁焝膩ka 膿峁熱篃umati ceyyappa峁�峁璦mai to峁璦rp膩kavum 颈濒补峁卥补颈 piracitti pe峁熱篃iruntatu. ta峁焢艒tu ve岣穒n膩峁�峁璾 n奴ta峁塧c膩laika岣穒lum, arumporu峁璳a岣� vi峁焢a峁塧i nilaiya峁卥a岣穒lum u岣丰阜a y膩峁塧it tantap poru峁璳a岣� k膩liyiliruntu vi峁焢a峁塧ikk膩ka e峁璾ttuc cellappa峁�峁璦vai e峁塸ata峁焝膩峁塧 膩tar膩峁卥a岣� u岣丰阜a峁塧. mikavum pe峁焨mati mikka ala峁卥膩rap poru峁�办补岣穉i nirm膩峁噄ppata峁焝u inta y膩峁塧it tanta峁卥a岣� paya峁塸a峁璾ttappa峁�峁璾岣丰阜a峁塧. ivv膩峁焨 nirm膩峁噄kkappa峁�峁璦 y膩峁塧it tanta v膿laipp膩峁璾ka岣� ko峁囜弓a poru峁璳a岣� pe峁焨mati mikkat膩kavum, ata峁塧i nirm膩峁噄tta ci峁焢iyi峁� ti峁焌maiyai e峁璾ttuk k膩峁�峁璾vat膩kavum u岣丰阜a峁塧. ka峁璦l艒rap pirat膿ca峁卥a岣穒l p艒rttukk膿ya, oll膩ntarka岣穒峁� 膩峁璫ik k膩lattil nirm膩峁噄kkappa峁�峁璦 poru峁璳a岣穒l varal膩峁熱篃uc ci峁焌ppu v膩ynta mata va岣籭p膩峁璾ka岣� to峁璦rp膩峁塧 nika岣籿uka岣� v膿laipp膩峁璾ka岣纺乲ac cetukkappa峁�峁璾岣丰阜a峁塧. puttar pa峁璱ma峁卥a岣�, pu峁塱ta tantap p膿岣籥i, maruntup pu峁�峁璱ka岣�, kara

y膩峁塧ittanta c墨ppu; y膩峁塧ittantac ca峁�峁璦m; y膩峁塧ittantap pe峁�峁璱; y膩峁塧ittanta vici峁焛; y膩峁塧ittanta vici峁焛yi峁� kaippi峁璱; y膩峁塧ittanta maruntup pe峁�峁璱ka岣�; te岣穒pp膩峁�

Transcription:

yanaithantha velaippadugal鈥攎anitha nagarigam arambitha kalam thodakkam aparanangal marrum silaigal agiyavarrai nirmanikkum pothu avarrinidaiye yanaith thanthangalaiyum manithan upayogithullan. arasa kudumbathinar thamathu pozhuthupokkirkagavum yanaith thanthath thozhilai merkondirunthanarena varalarruth thagavalkal kuruginrana. kandiya irachiya kalagattathil inthag kaithozhil migavum pirasithi perrirunthathu. mathiya kalagattam thodakkam vegukalam varai airoppiya, asiya marrum arepiya nadugalukku yanaigal, yanaith thanthangal enpavarrai varthagathirkaga errumathi seyyappattamai thodarpagavum ilangai pirasithi perrirunthathu. tharpothu velinattu nuthanasalaigalilum, arumborudkal virpanai nilaiyangalilum ulla yanaith thanthap porudkal kaliyilirunthu virpanaikkaga eduthus sellappattavai enpatharkana atharangal ullana. migavum perumathi mikka alangarap porudkalai nirmanippatharku intha yanaith thanthangal payanpaduthappattullana. ivvaru nirmanikkappatta yanaith thantha velaippadugal konda porudkal perumathi mikkathagavum, athanai nirmanitha sirpiyin thiramaiyai eduthug kattuvathagavum ullana. kadalorap pirathesangalil porthukkeya, ollantharkalin adsig kalathil nirmanikkappatta porudkalil varalarrus sirappu vayntha matha vazhipadugal thodarpana nigazhvugal velaippadugalagas sethukkappattullana. puthar padimangal, punitha thanthap pezhai, marunthup puttigal, kara

yanaithantha sippu; yanaithanthas sattam; yanaithanthap petti; yanaithantha visiri; yanaithantha visiriyin kaippidi; yanaithantha marunthup pettigal; thelippan

Automated translation:

Ivory Carvings鈥擲ince the dawn of human civilization, man has used ivory among them to make ornaments and statues. Historical sources say that the royal family also engaged in ivory trade for their entertainment. This industry was very popular during the Kandyan Kingdom period. Sri Lanka was also famous for the export of elephants and ivory for trade to European, Asian and Arab countries from the beginning of the Middle Ages to the late period. There is evidence that ivory items now in foreign museums and jewelery shops were taken from Galle for sale. These tusks have been used to make highly valuable decorative items. The ivory carvings produced in this way are valuable and show the skill of the sculptor who made them. Historical religious events are carved in the objects built during the Portuguese and Dutch rule in the coastal areas. Buddha images, sacred ivory ark, medicinal potties, Kara

ivory comb; Ivory Act; ivory box; An ivory fan; ivory fan handle; ivory medicine boxes; Sprinkler

Gallery information:

These photos were taken at the Galle National Museum鈥攐ne of the most significant heritage sites in Sri Lanka's southern half constructed in Dutch architectural design. The main objectives of the museum are to the acquisition, conservation, study and research of historical and cultural heritage of the Southern half of Sri Lanka and to exhibit those objects to encourage public knowledge and education.