THE FORGOTTEN MASTER'S MASTERPIECE

To understand the master behind the masterpiece, we start 8,734 km from The Flame Tree Estate & Hotel at Kensington Palace’s Presence Chamber. Here, where English monarchs received foreign ambassadors, is a fireplace of limewood carvings and cherubs by Grinling Gibbons.

No wood sculpturers are the equal of this Michelangelo of woodcarving, who immortalised Restoration England and his patron, Charles II with his “unequalled ability to transform solid, unyielding wood and stone into something truly ethereal.

None - expect one practicing at a similar time in the middle of Sri Lanka - Delmada Devendra Mulachari.

Mulachari is renowned for many things but the rarest by far is Embekke Devale, a 16 miles drive from The Flame Tree Estate & Hotel. A medieval masterpiece, the temple has withstood wars, weather and most especially the interminable conflict waged by the Portuguese and Dutch on the island’s last kingdom – in nearby Kandy.

By the 1750s it was in a sorry state, its dilapidated walls noted by the rising young artist, Mulachari who lived nearby, his family, one of a number of Singhala artists from the South, having come north to seek work.

Wood carver, sculptor, architect, artist, - Mulachari worked for the last three kings of Kandy; and most especially King Kirthi Sri Rajasinha whose 35-year reign - to 1782 – was preoccupied by restoring many of the hundreds of Buddhist temples destroyed in the colonial wars. In this the king was greatly helped by Mulachari., who built for him the Audience Hall and the Octagon in the Temple of the Tooth, and the Cloud Wall that surrounds its lake.

Travellers, whether local or foreign, with a temple in mind, head with unfailing sureness to The Temple of the Tooth, and not Embekke Devale. But although just fifteen kilometres apart, the two temples are worlds apart in artistry.

The Temple of the Tooth has a stolid, almost bourgeois respectability. By compassion, at Embekke Devale, you enter instead a magical world in which formality occupies but the smallest of parts.

In every section, in every place, are the surviving 500 statues of the great artist, each a masterpiece in of itself. Exquisitely carved models of entwined swans and ropes, mothers breast feeding children, double headed eagles, soldiers, horses, wrestlers and elephants – all validate why this temple is famed across Asia for its world class carvings.

But there is more. Fantasy intervenes. Erupting from a vein is a figure of a women; a bird takes on human attributes, a slight of hand revels that an elephant is a bull; another, that is a lion.