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A monument to all things Dutch

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By RANDIMA ATTYGALLE

The Dutch Museum in Colombo, located at Prince Street, Pettah, was closed for several years for renovation. It was reopened to the public early this month. The conservation project which is nearing completion hopes to restore this archaeologically protected monument to its former glory.

More than a century since the Portuguese fortified Colombo, the city was lost to the Dutch in 1656 who remodeled the Portuguese fort. A new fortress or a citadel ringed by nine bastions, ramparts and deep moats replaced the original Portuguese-built Colombo Fort. The fort or kotuwa in the local language was known as the casteel or the castle by the Dutch. High-ranking Dutch officials lived in the casteel. Outside the Fort the surroundings are today known as Pitakotuwa or Pettah (an adaptation of the Tamil pettai meaning ‘a suburb outside a fort’). It was known as Oude Stad in the Dutch days. The Dutch, planned the town on a grid pattern with five principal streets- now known as Bankshall Street, Main Street, Keyzer Street, Prince Street and Maliban Street.

Tribute to a prince

Running parallel to Pettah’s Main Street is Prince Street – what the Dutch called the ‘Prins Straat’, named in honour of the new-born son of Kandyan King Rajasinha II. Far from its royal splendour of the past, marked by villas with lush gardens and streets shaded with green trees, Prince Street is consumed by a commercial tide today. Cutting across Malwatta Rd. – Pettah’s flea-market – lies Prince Street. (The smartest way to reach it is either on foot or in a tuk-tuk.) The street is dominated by opticians, sidewalks overrun by vendors peddling from achcharu to counterfeit branded clothing and naatamis (porters) whose calls ring in the air. It is impossible for a visitor to visualize a colonial yesteryear here. You will suddenly come upon an imposing mansion with eight colonnades of striking height looking completely out of place in these surroundings.

Monument to Dutch architecture

The only vestige of the Dutch legacy in these otherwise changed surroundings, is the Dutch Museum (as it is today). It was said to be the largest building in Pettah, as documented in ‘Streets and Buildings in the Pettah,’ published in the Ceylon Literary Register of September 2, 1887.

The villa which is also believed to have been the residence of Governor Thomas van Rhee who held office from 1692 to 1697 is a living monument to Dutch colonial architecture. Some historical sources also document the place to have been the one-time residence of Count Carl van Ranzow of Colombo.

Administered by the Department of National Museums, the Dutch Museum with its seven galleries, offers the visitor a window to Sri Lanka’s Dutch heritage. From the arrival and establishment of the Dutch to their final place of resting, the museum exhibits their way of life. The galleries are dedicated to Dutch furniture and utensils, the network of forts erected across the island, artillery and jewellery, VOC coins and tombstones portray the political and socio-economic status of the maritime provinces of Sri Lanka under the Dutch and mirror diverse aspects of life and culture of the day. With its high roofs and a gallery of columns, typical of Dutch architecture, the building had been used for different purposes over the centuries before it was finally declared a museum in 1982. It was inaugurated by President J.R. Jayewardene on July 10, 1982.

A governor’s residence, seminary and more

From Governor’s residence, it became a seminary, an orphanage or weeskamer, hospital, army barrack, police training school and finally a post office in 1932. The Latin inscription above its entrance which is still visible quotes Psalm 127: ‘Except the Lord build the house, they labour in vain that build it.’ Below this inscription is the date ‘1780’ which is believed to be the year in which the seminary was established. Dr. Jurrien van Goor in his article ‘The Rectors of the Dutch Seminary at Prince Street Colombo’ (published in the Netherlands Alumni Association of Sri Lanka (NAAL) Journal Special Edition of 1982) writes:

‘Not many buildings can be found in Sri Lanka or elsewhere in the former Dutch colonies to equal its very fine and imposing row of front columns of such height. During its long history the building was used for many purposes: but the reason for which it was built makes it all the more exceptional. Nowhere else in the Dutch colonies were founded during the eighteenth century seminaries or schools in which local youth received a secondary training. The few endeavours made at Batavia did not last long. Only Sri Lanka can boast of an uninterrupted educational record of such long duration under the Dutch’. The writer goes onto say that even the curricular of the early English schools followed the pattern of the Dutch seminary.

Dutch cot

A museum takes shape

The building functioned as the Pettah Post Office from 1932 until 1971 when one of the sidewalls collapsed during the monsoon rains and made it uninhabitable. The question then arose on what to do with the premises. The suggestion to demolish it was opposed by the Royal Asiatic Society and the Dutch Burgher Union- the latter then led by Dr. R.L. Brohier. In his book Changing Face of Colombo, Brohier notes that ‘there is today no better example of the more imposing and typical building the Dutch erected in the Oude Stad than this monument with its high solid and substantial pillars of brick and plaster supporting the façade.’

The writer (The first Ceylonese to become Deputy Surveyor General and a noted authority on the country’s ancient irrigation works) makes an interesting observation that his great grandfather, Peter Brohier, had lived in a villa on the Prince Street (which he had purchased in 1834) opposite the Orphan Chamber. It was here too that his son (writer’s grandfather) was born two years later. The villa which Brohier refers to opposite the present Dutch Museum is replaced by a row of opticians’ premises teeming with crowds.

In 1973, a committee was established with representatives drawn from multiple state and international agencies to restore the building and establish a museum covering the Dutch colonial period. The restoration was funded by the Netherlands-Sri Lanka Foundation, founded by the late Dr. Evert Jongens. The restoration of the building commenced in 1977 and was completed in 1981 under the supervision of architect Ashley de Vos. The plan for the museum galleries was drafted and executed with the help of the Amsterdam Historical Museum.

Gallery depicting to bacco boxes and jewellery from the Dutch era

Only green patch in Pettah

Prof K.D. Paranavitana, eminent historian and an authority on the Dutch rule in Sri Lanka who served the restoration project as a consultant, recollects procuring several pieces of Dutch furniture for the museum with the assistance of NAAL (Netherlands Alumni Association of Lanka). Among them is a cot which is one of the highlights among the collection in the ‘Bedroom Gallery’. Prof. Paranavitana who was then an archivist at the President’s Office was also responsible for the preparation of narratives for the exhibits.

Foreign visitors to the museum

“The Dutch Museum in Colombo was then a popular venue for the functions of the Dutch Embassy in Colombo and NAAL. I even had a book launch of mine in the beautiful court yard or the meda midula. This is probably the only green patch remaining in Pettah today which was once a fashionable quarter of Colombo shaded by lots of trees.”

Prof K. D. Paranavitana

The court yard with the unmistakable ‘Dutch-well’ which was once adorned with numerous flowering plants and foliage is being landscaped right now. The well too is under conservation. The massive cinnamon tree and the nutmeg tree found in the garden are symbolic of the spice trade which first brought the Dutch here. The side verandahs which open to the courtyard consist of several rooms that had originally served as servants’ quarters and storerooms. Today they are converted into administrative spaces. One of the rooms called ‘Hall of Death’ houses nearly 50 tombstones which were retrieved from a side alley of Prince Street when the Dutch cemetery of Pettah gave way to expanding trade centres.

Laborious conservation

The museum is home to nearly 300 exhibits today. A sizable number has already been conserved and others are still being done says the Dutch Museum keeper Thanuka Kumarasiri. The garden which is the highlight of the place too is to be restored to its former glory soon he assures. “We reopened the museum only in early July this year but we have a considerable number of visitors including foreigners. Once the place is fully done, we hope to attract more crowds,” he says adding that an admission ticket is still issued at a very nominal rate.

The conservation of the Dutch Museum in Colombo was among one of the most challenging tasks before her as the Director General of the Department of Museums says Sanuja Kasthuriarachchi. “The location of the museum in one of the most congested parts of Colombo, the COVID threat and the political and economic unrest in the country in the past few years, made the project an uphill task. Despite all challenges, this archaeologically protected monument which is more than three centuries old, that struggled to survive amidst unplanned structures surrounding it is once again open to the public.”

The conservation project is supported by the State Engineering Corporation and the Department of Archaeology. “We have now reached the final stages of the project and we hope to restore this iconic building into a traditional Dutch home where visitors can step into a tranquil space in the busy commercial hub of Colombo and relive a bygone era,” says Kasthuriarachchi. She invites the public to donate any memorabilia from the Dutch era to the museum which stands as an enduring monument to the Dutch legacy.

Dutch Museum at Prince Street Pettah is open from Tuesday to Sunday. Closed on Mondays and public holidays.

(Pic credit: Randima Attygalle, Department of National Museums & Prof. K.D. Paranavitana)



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Life style

What I Do, What I Love: A Life Shaped by Art, Wilderness and Truth

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In a country where creative pursuits are often treated as indulgences rather than vocations, Saman Halloluwa’s journey stands apart — carved patiently through brushstrokes, framed through a camera lens, and articulated through the written word. Painter, wildlife and nature photographer, and independent environmental journalist, Halloluwa inhabits a rare space where art, ecology and social responsibility converge.

His relationship with art began not in galleries or exhibitions, but in a classroom. From his school days, drawing was not simply a subject but an instinct — a language through which he learned to observe, interpret and respond to the world around him. Under the guidance of two dedicated mentors, Ariyaratne Guru Mahathaya and Gunathilaka Guru Mahathaya, he honed both skill and discipline. Those early lessons laid the foundation for a lifelong engagement with visual storytelling.

“His work navigates between traditional Sinhala artistic sensibilities, abstract compositions and expansive landscapes.”

That commitment eventually materialised in two solo art exhibitions. The first, held in 2012, marked his formal entry into Sri Lanka’s art scene. The second, staged in Colombo in 2024, was a more mature statement — both in content and confidence. Featuring nearly fifty paintings, the exhibition drew an encouraging public response and reaffirmed his place as an artist with a distinct visual voice.

His work navigates between traditional Sinhala artistic sensibilities, abstract compositions and expansive landscapes. There is restraint in his use of form and colour, and an underlying dialogue between memory and space. Yet, despite positive reception, Halloluwa speaks candidly about the structural challenges faced by artists in Sri Lanka. Recognition remains limited; fair valuation even rarer.

“This is not merely an artistic issue,” he observes. “It is a social and economic problem.”

In Sri Lanka, art is often viewed through the lens of affordability rather than artistic merit. Many approach a painting by first calculating the contents of their wallet, not the value of the idea or labour behind it. In contrast, he notes, art in Europe and many other regions is treated as cultural capital — an investment in identity, history and thought. Until this mindset shifts, local artists will continue to struggle for sustainability.

The decisive push toward wildlife photography came from Professor Pujitha Wickramasinghe, a close friend who recognised both Halloluwa’s observational skills and his affinity with nature. From there, the journey deepened under the mentorship of senior wildlife photographer Ravindra Siriwardena.

Both mentors, he insists, deserve acknowledgment not merely as teachers but as ethical compasses. In a field increasingly driven by competition and spectacle, such grounding is invaluable.

Saman Halloluwa

Wildlife photography, Halloluwa argues, is among the most demanding visual disciplines. It cannot be improvised or rushed. “This is an art that demands restraint,” he says.

Among all subjects, elephants hold a special place in his work. Photographing elephants is not merely about proximity or scale, but about understanding behaviour. Observing social patterns, movement, mood and interaction transforms elephant photography into a constantly evolving challenge. It is precisely this complexity that draws him repeatedly to them.

Halloluwa is cautiously optimistic about the current surge of interest in wildlife photography among Sri Lankan youth. Opportunities have expanded, with local and international competitions, exhibitions and platforms becoming more accessible. However, he issues a clear warning: passion alone is not enough

Sri Lanka, he believes, is uniquely positioned in the global nature photography landscape. Few countries offer such concentrated biodiversity within a compact geographical area. This privilege, however, carries responsibility. Nature photography should not merely aestheticise wildlife, but foster respect, aware ness and conservation.

Parallel to his visual work runs another equally significant pursuit — environmental journalism. For the past seven to eight years, Halloluwa has worked as an independent environmental journalist, giving voice to ecological issues often sidelined in mainstream discourse. His entry into the field was guided by Thusara Gunaratne, whose encouragement he acknowledges with gratitude.

An old boy of D.S. Senanayake College, Colombo, Halloluwa holds a Diploma in Writing and Journalism from the University of Sri Jayewardenepura and has completed journalism studies at the Sri Lanka Press Institute. He is currently pursuing an Advanced Certificate in Wildlife Management and Conservation at the Open University of Sri Lanka — a testament to his belief that learning must remain continuous, especially in a rapidly changing ecological landscape.

Outside his professional life, he enjoys cricket, rugby and badminton. Yet even leisure intersects with responsibility. He is a founding member and former president of the D.S. Senanayake College Old Boys’ Wildlife Forum, an active member of Wild Tuskers Sri Lanka, and a contributor to several independent environmental and wildlife volunteer organisations. In an era dominated by speed, spectacle and short attention spans, Saman Halloluwa’s journey unfolds differently. It is deliberate, reflective and rooted in values. Through art, he captures memory and form. Through photography, he frames life beyond human control. Through journalism, he asks uncomfortable but necessary questions.

“What I do, what I love” is not fashion here.

It is conviction — patiently lived, quietly asserted, and urgently needed in a country still learning how to value its artists, its environment and its truth.

By Ifham Nizam ✍️

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Shaping the future of style

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Pride, passion and professionalism

Ramani Fernando Sunsilk Hair and Beauty Academy

Ramani Fernando Sunsilk Hair and Beauty Academy marked their graduation of their latest cohort of aspiring hair professionals in a ceremony held at Kingsbury Hotel.

Senaka de Silva, creative force behind Ramani’s shows

For over two decades, the Ramani Fernando Sunsilk Hair and Beauty Academy has stood as a beacon of excellence in beauty education in Sri Lanka. Founded by industry icon Ramani Fernando, the Academy has built a reputation for producing highly skilled professionals who go on to make their mark in salons, both locally and internationally. As the newly minted graduates step out into the world, they carry forward not just certificates, but also the promise of creative authority and personal empowerment.

The chief guest for the occasion was Rosy Senanayake, a long-standing supporter of the Academy’s mission. Addressing the graduates her message echoed her enduring belief that the beauty industry is not merely about aesthetic but about. confidence, self-worth and future leaders.

Over months of rigorous training, these young professionals honed their skills in cutting colouring, styling and contemporary artistry readying themselves to set trends rather than follow them.

Each graduate walked the stage with confidence, their dedication signalling a promising future for Sri Lanka’s beauty and fashion industry! With this new generation of stylists preparing to raise the standard of professional hairstyling.

Ramani Fernando, addressing the audience reflected on the academy’s mission to cultivate not only skills but vision and confidence in every student.

She urged the graduates to embrace continuous learning to take risks with creativity .The world of beauty is ever evolving, stay curious, stay bold and never underestimate the power of your talent, she added emphasising the importance of confidence, discipline and passion in carving a successful career in shaping the future of style.

These graduates are stepping into a world of endless possibilities. They are future of the country, who will carry a forward legacy of creativity. Behind every successful graduate at Sun silk Hair Academy stands a team dedicated to excellence. While Ramani Fernando serves as a visionary Principal and it is Lucky Lenagala, her trusted person who ensures that the academy runs seemingly.

From overseeing training sessions to guiding students, through hands on practice, Lucky plays a pivotal role in shaping the next generation of hairstylists.

Kumara de Silva, who has been the official compere Ramani’s, Hair graduation ceremony, from inception has brought energy, poise and professionalism. The Sunsilk Hair Academy is a celebration of talent and mentor ship for the graduates stepping confidentially into the next chapter of their careers, ready to make their mark on Sri Lanka beauty landscape

A moment of pride Ramani with chief guest Rosy Senanayake

Statement in style

Gliding in romance and sophistication

Pix by Thushara Attapathu

By Zanita Careem ✍️

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Capturing the spirit of Christmas

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Romesh Atapaattu, overseas the magic behind every cut and style at Capello salons

During this season, Romesh Atapattu’s Capello Salon buzzes with a unique energy – a blend of festive excitement and elegance. Clients arrive with visions of holiday parties, office soirees, seeking looks that capture both glamour and individuality. The salon itself mirrors this celebrity mood. Warm lights, tasteful festive décor create an atmosphere where beauty and confidence flourish.

Romesh Atapattu himself curates the festive décor, infusing the space with his signature sense of style. His personal eye ensures that the décor complements the salon’s modern interiors.

As Colombo slips effortlessly into its most glamorous time of year, the Christmas season brings with it more than twinkling lights and celebrity soirees – it signals a transformation season at salons across the city. Capello salons are no exception.

At the heart of this festive beauty movement is Romesh Atapattu of Capello salons, a name synonymous with refined hair artistry, modern elegance and personalised style.

Christmas is about confidence and celebration. Romesh believes ‘People want to look their best without losing who they are”. Our role is to enhance, not overpower. This philosophy is evident in the salon’s seasonal approach.

Beyond trends, what sets Atapattu apart is the attention to individuality. Each consultation is treated as a creative collaboration – face shape, lifestyle, hair texture and personal style all play a role in creating the best for Romesh.

Stepping into Romesh’s salon during the Christmas season is an experience in itself. The space hums with festive energy while maintaining an atmosphere of calm sophistication.

The décor embraces the Christmas spirit with understated elegance. Tastefully adorned décor, beautiful Xmas tree, soft gold and ivory tones, and gentle hints of red are woven seamlessly into the salon’s contemporary design.

His staff, known for their warmth and professionalism also plays a key role in shaping the salon’s atmosphere—friendly, stylish and always welcoming. The Capello staff combine skill and creativity to deliver results that have a lasting impression.

Beyond trends, what sets Romesh Atapattu apart is the attention to individuality. Each consultation is treated as a creative collaboration – face shape, lifestyle, hair texture and personal style all play a role.

He is a professional who blends technical mastery with a deeply personal approach to style. His dedicated team of skilled professionals, operate with quiet confidence ensuring styles that create an atmosphere of trust, turning every appointment into a personalised and memorable experience.

(ZC) ✍️

Pic by Rohan Herath

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