PASADENA, CA.- The Art of Kandy: Sri Lanka’s Last Kingdom brings together 13 objects from the Norton Simon Museum’s collection of art from the kingdom of Kandy, the final royal capital of Sri Lanka before the onset of British colonial rule. From intricately carved ivory sculptures to gem-studded silver objects for the elite, this presentation of small-scale, portable works showcases the skill and ingenuity of the kingdom’s artisans. Kandyan craftsmen flourished under royal sponsorship, fostering the development of a creative and distinctive identity amid internal strife and pressures from foreign powers.

Founded in 1469, the kingdom of Kandy was re-established in 1592 and remained independent until its annexation into British Ceylon in 1815. Although Kandy was a remote kingdom in the central hills of Sri Lanka, it played a significant role in revitalizing the island’s social landscape. Kandyan kings formed marriage alliances with South Indian royals, negotiated trade with the Dutch who controlled the coastal regions, maintained diplomatic ties with Thai rulers to foster visits from Buddhist monks and restored the Buddhist monastic order. Despite shifting political conditions, contested authority and moments of usurpation, local and migrant artisans continued to create works in royal ateliers and regional workshops. Kandyan art developed alongside sustained exchange with South India, Southeast Asia and European trading networks.

The art of this period blended local styles and motifs with South Indian designs, combining Buddhist and Hindu iconographies with pan-Asian symbolism. Patronage of Buddhist art and architecture was essential for a king to be considered a pious benefactor of the faith, and in turn, to legitimize their claim to the throne. Due to these factors, Kandyan art and architecture flourished by drawing from both foreign interactions and deeply rooted local traditions.





Figural sculpture developed a distinctive, robust flair—with eyes that gaze directly at the viewer, broad shoulders and imposing limbs—while mythical and composite creatures animated much of the visual culture. Among the highlights in the exhibition is an 18th-century standing ivory Buddha that exemplifies the hallmarks of Kandyan sculpture, including broad shoulders, a stern facial expression and stylized drapery. The exhibition also features elaborately crafted objects that demonstrate the technical mastery of silversmiths, ivory carvers and metalsmiths who likely worked in royal workshops. The works on view may have been commissioned for the royal court or made for Buddhist devotees to use as offerings.

“The Art of Kandy offers new perspectives on cultural exchange, artistic resilience and the interconnected histories of South and Southeast Asia,” said Lakshika Senarath Gamage, Assistant Curator at the Norton Simon Museum. “The exhibition reveals how Kandyan artists drew from local traditions and international exchanges to create a distinctive visual language that continues to resonate today.”

Presented in an intimate gallery setting, this exhibition of Kandyan art reflects wide-ranging themes of royal sponsorship, Buddhist devotion and creative imagination, illustrating how artisans and patrons of diverse backgrounds shaped an ongoing artistic legacy that transcends cultural and political boundaries.