Art and culture in Sri Lanka has always been intricately intertwined to such an extent that the two cannot be identified separately. Whether in the form of paintings, sculpture, handicraft or performing arts, “Sri Lankan art” typically depict “life” in the form of People, landscape and cultural lifestyle.

Sri Lankan art also stands to give an authentic record of its rich cultural development starting from as far back as 500bc in her written history to present day, where major cultural changes resulting from decades of colonial rule followed by relative national freedom.

This distinguishing character and personality of Sri Lankan art has never remained static with a timely   emergence of the 43 group, together with other artists that created a landmark and a significant cultural re-awakening. It marks a historical record in a sense of feeling for the desire for freedom, followed by freedom from colonial rule.

However, the 43 group alone does not represent the whole cultural landscape at that time. In order to truly understand the different phases, knowledge of Sri Lankan history in a cultural context would be invaluable. 

A book titled “Singhalese Medieval art” by Ananda Kumaraswarmy, fist published in 1901, probably gives the most comprehensive coverage of early art in Sri Lanka. Traditional Sri Lankan art can only be seen in various cave temples and ruined royal palaces scattered throughout the country. These include Dambulla, Matale, Anuradhapura, Polonaruwa, Sigiriya, Kandy and Yapahuwa among others. The more recent works can be seen in Kalaniya temple and Kotte Gothami temple.

The wholesale disintegration of the religious and cultural fabric by colonial rule that changed an economic system dependant on a rural agriculture based feudal social     structure into cash-crop based economic system for exports, created an “art” vacuum.

This is represented by the absence of any artistic creations around the country except in Kandy during the period from around 1600 to 1800 followed by the destruction of Kandyan art from 1800 to the 1930’s.

The emergence of the 43group represented art of a new social group, while artists such as Stanley Kirinde and Donald Ramanayake rekindled the religio-social values of the majority national population.

Prominent members of the 43group were Lionel Wendt, George Kyte, Ivan Peiris, Harold Peiris and Richard Gabriel. Their works, individual in style, but taken on the whole is a major shift away from “spiritual-social” to “individual” expression.

Works of Lionel Wendt, a photographer and musician, added technical skill and artistry, bringing in a sense of “liberation”. Works by Richard Gabriel, brings in a Christian influence in society, yet with a truly Sri Lanka artistic characteristic. Works by George Kyte, combines the influence of Indian, Hindu influence in Buddhism with a sense of “personal” liberation and the breaking away from the old feudal system of pre-colonial society. Ivan Peiris’s who lived a major part of his later life in the UK has created masterful abstract landscapes, full of life.                                                                                                                  

The best collection of works by the 43 group are displayed at the Sapumal foundation. The National art gallery represents mostly a baron period in Sri Lankan art during colonial rule.

Of today’s artists, Pushpananada Weerasinghe, Channa Ekanayake, Sameera Kalupahana, Badugodahewa, Nihal Jayamana, Sangabo Dias and Manjusri Jr, to name a few have produced consistent high quality works, with a unique Sri Lankan characteristic. These artists have the rare ability to give life to a painting. Sculptors such as Tissa Ranasinge, Yasantha Boange and Baratha Liyanege have consistently produced works combining artistry and skill.                                                                                                              

There are many questions raised on the fundamental thinking on art and music. Some of these questions are:

Should art and music be our guiding light or a mirror to reflect our social and cultural values ? Should art and music reflect today’s commercial reality and cater to current demands in style and trend?  Is a true artist a thought leader or a follower of social values, or a mere messenger?  Should an artist be a dreamer or a realist? Is our art and music handed down from generations, relevant to today or just historic record?  Is western influence in modern art and music in Sri Lanka reflecting “technical advancements”, “deep soul searching” or just “sensationalism”? Is globalization good or bad for our art, or is art universal anyway? Do we really understand modern art, or just pretending?

Answers to these questions would create social unity through a better understanding of cultural diversity.