Books  

Lest they vanish from mass memory

Reviewed by Kalakeerthi Dr. Edwin Ariyadasa

Tissa Hewavitarane has already acquired considerable distinction, as a pedagogic brush-wielder and a multi-skilled practitioner of Arts. Now, with the publication of ‘Brush Strokes of Old Masters’ he adds yet another shining feather to his cap, as this work represents a highly praiseworthy, civilised gesture. In this publication he celebrates a primary, central humane virtue that is largely forgotten in our day of frenzied self-seeking. And, that crucial human quality is of course gratitude.

This publication, quite clearly emerges from Tissa’s troubled conscience. The artist-author of this work possesses on unabashed deference for tradition. In that state of mind, he was profoundly appalled to find that some outstanding artists, who undoubtedly belong in the ranks of masters, have pathetically vanished from mass memory.

Propelled by pangs of remorse about the fate that had overtaken these exceptional creative personalities, most of who form the main-stream of Sri Lankan art, Tissa set out to make amends, within the limitations of his individual capacity.

He planned, this book, as part of his gesture of gratitude to those predecessors in his vocation. Along with the presentation of this work to the public domain, he organised a parallel event - a display of the artistic creations that reflect the vanished era.

The title of Tissa’s book - ‘Brush Strokes of Old Masters’- resonates with a sense of fond personal admiration. When he brought out this slim volume, his intention would have been restricted to paying his personal homage to those masters who are no more.

Although that may have been his individual whim, at the end of it all, the publication has turned out to be a highly informative chronicle of unprecedented significance.

Occasion

To my mind, this is the first ever occasion, when a single volume profiles 26 masters, whose contribution to the main-stream of art in Sri Lanka, has not at all been minor or insignificant. Besides, the publication is bilingual – Sinhala and English.

Outwardly, Tissa’s book may seem simple and ordinary. But, once you begin to peruse the material between its covers, you cannot help but be highly appreciative of the substantial effort that has gone into it. An essay on just one of these masters would not have proved that complicated. But here 26 personalities are dealt with. Researching the life-details of such an extensive range of personalities would undoubtedly have been an exacting task.

A few among the masters, Tissa has singled out for this work, have a far-flung reputation. George Keyt is foremost such widely acknowledged masters.

In his Gallery of 26 Old Masters, some are unsung and largely unknown. But Tissa has opted to elevate them to a distinguished niche, because he is fully aware of the influence they exerted on the main stream of Sri Lanka’s art and some aspects of indigenous culture. You could, for instance, focus on M. Sarlis. In the early decades of the 20 Century, there was hardly any Buddhist home that did not display at least one of his colourful paintings, depicting events in the life of Prince Siddhartha and of the Supremely Enlightened Buddha.

These Buddhist paintings acquired such a reputation, that in later years they became collectors’ items.

In his own way Maligawage Sarlis, brought about a quiet cultural revolution.

Early in the twentieth century, the widely prevalent cultural practice was to adorn the walls of houses, with framed prints imported from Europe. These prints generally depicted foreign Royalty or exotic landscapes.

Change

Sarlis brought about an extensive change. His Buddhist paintings replaced the imported reproductions. Buddhist homes, even in the remote areas of the land, followed the general trend of adorning their homes with Salis’ Buddhist portrayals.

David Paynter, one of those artists selected by Tissa had a reputation that went beyond our shores. A product of both the western and oriental cultures – he possessed an exceptionally sensitive attitude towards Art. George Keyt too comes within that category. Mudliyar A.C.G.S. Amarasekera imparted an elitist touch to the artistic scenario of that day. In addition J.D.A. Perera too being portrait painter par excellence occupies centre stage in the world of art education in modern Sri Lanka.

The 26 profiles arrayed in Tissa’s book, start with Saradius Lankatileke, while a bio-note of artist S.P. Charles appears as the ultimate entry in the book. If I did not make at least a passing reference to the arduous effort made by author Tissa Hewavitarane, I will not be doing the right thing. Tissa worked on this publication, while enduring sundry ailments. As good fortune had it, he possessed a handful of intimate friends he could implicitly trust. He esteems their invaluable assistance. Your esteem of the work becomes more profound, when you become sensitive to the pains, bangs and sufferings out of which it emerged. In spite of all these drawbacks Tissa kept on going.

The book nudges both the public and the state to wake up and be alert to the need to perpetuate their contribution to the island’s artistic tradition.

These artists create aesthetically pleasing works to enliven lives. But, as things are, some of them are forced to lead lives of excruciating privation – especially in their sun-set days. I do not intend to name any name here, as that may be embarrassing, in some ways. Implied in Tissa’s chronicle is a reminder to moderns, about their collective responsibility to cherish those practitioners of art, who are still around. To my mind, the ultimate outcome of it all is the impressive incarnation of Tissa Hewavitarane as the chronicler of the achievements of high professionals, in his own field of dexterity.

The work is a commendable tribute to our perennial heritage.