Piynanda Rupasinghe
Suvisi Vivarana is a significant Sinhala Buddhist ritual that integrates dance, music, song, and visual arts to commemorate the Bodhisattva Siddhartha Gautama’s receipt of the definitive prophecy (Vivarana) from twenty-four past Buddhas. This ritual has been central to preserving devotional practices and Sinhala Buddhist cultural identity over centuries. Despite its historical and cultural importance, Suvisi Vivarana has received limited scholarly attention, and its performative, visual, and ritual dimensions remain under-documented. Contemporary transformations, such as digital reproduction of the Pethikadaya and shortened festival durations, have altered traditional practices, raising concerns about the preservation of authentic ritual knowledge. This study aims to examine Suvisi Vivarana as a holistic ritual performance, focusing on its devotional purpose, performance structure, theatrical space, and the symbolic significance of the Pethikadaya, a painted cloth representing the Bodhisattva’s encounters with the twenty-four Buddhas. The research employs a qualitative approach, including literature review, ethnographic observation, and semi-structured interviews with practitioners, temple authorities, and visual artists involved in Suvisi Vivarana performances. The study also analyzes historical painting traditions and contemporary adaptations of the Pethikadaya. By situating Suvisi Vivarana within Sri Lanka’s artistic and ritual traditions, the study highlights its role in reinforcing Buddhist devotion, promoting communal participation, and preserving indigenous performance knowledge. Suvisi Vivarana embodies a comprehensive ritual art form that merges narrative, music, dance, and visual symbolism. Safeguarding its traditional practices is essential for maintaining Sri Lanka’s intangible cultural heritage and ensuring the continuity of Sinhala Buddhist performance traditions.