Life style
A synthesis of native craft and European design
Colombo National Museum’s new Furniture Gallery which displays a fine collection from the Kandyan kingdom and the colonial times, is soon to be opened to the public. We had a sneak-peak at the new gallery’s intricately designed ebony almirahs, four-posters, palanquins from the Kandyan times, cradles and Burgomaster chairs from the Dutch times and much more…
BY RANDIMA ATTYGALLE
The first impression of the Colombo National Museum’s new Furniture Gallery is that it’s a synthesis of the indigenous craft and that of the European genus. The 17th century Dutch grandfather clock which stands tall at the entrance to the gallery is juxtaposed with the traditional Kandyan laaksha-embelished centre tables. The richly ornamented Kandyan palanquins and finely crafted chairs inspired by the Dutch tradition, equally speak for the skills of the Lankan artisan who could navigate different schools of art with ease.
A luxury of the nobility
Until the mid-20th century, the use of furniture in Lankan homes was minimal. Except for small three-legged benches, there were hardly any pieces of furniture found in ordinary households. Even guest seating was arranged by laying a mat on the outside verandah. The use of furniture was accepted as a luxury by the royalty, nobility and the priests. Ananda Coomaraswamy in his work Mediaeval Sinhalese Art notes that, ‘none but the king was allowed to sit upon a chair with a back.’ The chairs that we are familiar with today did not exist here at home in the early 16th century. Coomaraswamy further writes of a beautiful chair dedicated by Kirti Sri Raja Sinha preserved in the Asgiriya pohoya-ge which is painted and inlaid with ivory. Paintings at Degaldoruwa also depict a number of types of stools and chairs. ‘Ordinary tables, were not in general use, though mentioned by Knox (Robert Knox) among the King’s private treasures, most of which he had obtained from wrecks or were gifts brought by ambassadors,’ says Coomaraswamy.
Colonial influence
Most of the furniture we are familiar with today such as chairs, tables, bedsteads and wardrobes were first introduced to the island by the Portuguese in the 16th century. The native words putuwa and almariya (derived from the Portuguese word armario) are of Portuguese origin. Later, the Dutch colonization of the coastal areas of the island gave birth to a rich furniture-making legacy.
In the article, ‘Colonial Dutch Furniture’ by E. Reimers published in the Journal of the Ceylon Branch of the Royal Asiatic Society (RAS) of 1937 (Vol XXXIV), the writer states that the ‘Dutch with their characteristic caution and attention to details should have provided for their domestic needs in their Eastern colonies’ and have probably brought some of their master carpenters to the island. Local carpenters probably became their understudies.
R . L Brohier in his book, Furniture of the Dutch Period in Ceylon documents: ‘Large number of Porto-Sinhalese and others from the Sinhala community whose ancient trade was carpentering found employment in the Dutch winkels or workshops in Ceylon. It was from the Dutch that the ‘Moratuwa Carpenter’ and the Low country Sinhalese generally learnt the art of furniture-making and even up to the British period of occupation in Ceylon duplicated the genuine Dutch models and preserved many of the Dutch patterns.’
Superior Ceylonese furniture
Brohier further notes that, ‘the period which the Dutch were in Ceylon synchronized with this golden age of furniture development in Europe-claimed by authorities to have been a period of artistic activity never equaled before or since in the history of furniture.’ The assortment of chairs, settees, book cases and wardrobes found in the Colombo Museum’s new gallery is a testimony to this legacy the Dutch.
Grandfather Clock believed to be that of the last Dutch Governor in Ceylon
The Burgomaster chair type which was first made in the Netherlands in about 1650 and the subsequent Queen Anne Style type and those of the rococo style (which are found in the Wolvendaal Church in Colombo) are among the interesting chairs found in the gallery. Jan Veenendaal in his book, Furniture from Indonesia, Sri Lanka and India during the Dutch Period, observes the distinction between the chairs from Sri Lanka and Indonesia in the 1740s. ‘The difference between chairs from Sri Lanka and Indonesia is very marked during this period. In Sri Lanka, the Dutch style was followed more assiduously, Chinese and of course Indonesian influences on methods of ornamentation are completely absent.’ Dr. Joseph Pearson in his writing in RAS (Ceylon) Vol XXXI, 1938 makes a distinction between old Javanese and Ceylonese furniture: ‘Generally speaking, the types of old furniture in Java has characters of its own…. The furniture is frequently overloaded with rough carving and as a rule is inferior to Ceylon furniture which is dignified in style and restrained in motif.’
Clock of the last Dutch Governor
The grandfather clock in the gallery is indeed a show-stealer. Brohier in his work provides an extensive account of it. Dating back to 1710, the clock it claimed to have been the property of the last Dutch Governor of Ceylon, John Gerard van Angelbeek. Subsequently, it passed into the possession of Leslie de Saram who was a connoisseur of antiques in 1936. He then gifted it to the University of Ceylon in memory of his mother. Brohier recalls having seen this iconic article on a visit to the university in 1963 when the clock was still intoning ‘tick-tock’. This valuable antique was ‘indecorously destroyed beyond repair together with other articles of furniture in the student riots of December 1965,’ records the historian.
Local timber and art
The laaksha or traditional Sri Lankan lacquer work has a deep-rooted history. Matale is the best-known region in the island for this art. The legend has it that this art was introduced to the island with the arrival of Theri Sangamitta who brought the sapling of the sacred ‘Sri Maha Bodhi’ tree, accompanied by numerous artisans who introduced their respective traditions to the island. Ananda Coomaraswamy describes the Sinhalase lac-work to be of ‘great brilliancy and gaiety of colouring.’ He also notes that most of the work is from a decorative point of view. The laaksha-adorned centre tables found in the gallery mirror this brilliance and add colour to the place.
In the selection of material for their earliest 17th century furniture, the Dutch appear to have shown a marked preference for dark or coloured woods, mainly ebony, records E. Reimers in his contribution to RAS (Ceylon) of 1937 (Vol XXXIV). ‘We may imagine that the Hollander’s imagination ran riot when he first came out to the East and saw rich varieties of woods which the virgin forests of Ceylon and Mauritius afforded.’ Among the other local timbers sought after by the Dutch were Calamander, (which was found in the wet forests of the Southern provinces and in the wilderness of Sri Pada, recklessly felled by the Dutch and the British and is almost extinct today), Nedun, Satinwood, Tamarind, Kumbuk, Jak, Halmilla, Suriya, Kohomba and Mara.
Public participation
The soon to be opened new Furniture Gallery at the Colombo National Museum is a fine representation of the cultural intersection of Sri Lanka, says the Director General of the Department of National Museums, Sanuja Kasthuriarachchi. “The fine collection of furniture we have as exhibits ranging from the Kandyan era to the British period in the island reflects not merely the colonial influence on the furniture-making in the island but also the fact that our traditional carpenters and artisans were naturally endowed with the skill, given their long-standing association with wood crafts.
“The Kandyan Kingdom in particular is associated with an architecture and crafts dominated by wood. This inherent skill would have probably driven our carpenters of the colonial times to ably grasp the European styles,” remarks Kasthuriarachchi who invites history-lovers to enjoy the exhibits and revisit a rich tradition. “We also welcome unique articles of furniture as gifts from the public to the gallery as means of enabling a richer experience to museum visitors,” she added.
(Pic credit: Department of National Museums)
Bernie Stefan is the Chairman and Managing Director of Nestlé Lanka Limited, overseeing Nestlé’s operations in Sri Lanka and the Maldives. He assumed this role in March 2023. Under his leadership, Nestlé has strengthened its footprint in Sri Lanka, touching individuals and families, communities and spearheading sustainable development.
Since taking charge in 2023, Stefan has brought with him over two decades of international experiences, steering the company with a clear focus on sustainability, innovation and long term growth.
Bernie describes the anniversary as a moment of pride and reflection on over a century of commitment to Sri Lanka and its people.
Under his leadership, Nestle has expanded its footprint while staying true to its mission: to improve lives by providing nutrition and wellness for all Sri Lankans. Beyond the commercial success, the company has focused on community impact – supporting local farmers. promoting sustainable practices and contributing to public health initiatives.
(Q) Nestlé has been part of Sri Lankan homes for 120 years. How has the brand evolved alongside the changing lifestyles of Sri Lankan families?
(A) We at Nestlé are extremely proud of our 120 year journey of enriching Sri Lankan lives. It has been a journey guided by purpose and working together for good – touching individuals and families, the community, and the planet. As lifestyles and needs have evolved, so, too, have our products – offering convenient, tasty and nutritious solutions that meet everyday moments, whether it’s energy on the go or a quick and tasty meal. A true symbol of this legacy is our flagship brand, Nestomalt – synonymous with power, strength and energy – which today is enjoyed as the first cup of the day by a majority of Sri Lankan households.
(Q) Many Sri Lankans have grown up with Nestlé products at their breakfast table or during tea time. How does the company stay emotionally connected with generations of consumers?
(A) Our product range caters to the nutritional needs of consumers from birth to old age. We always ensure that the consumer is at the centre of everything we do. This deep understanding of consumer preferences, ensures not only that our products deliver taste and nutrition but also our communication is in tune to the local context. Our brands have been deeply rooted in the lives of the Sri Lankan community over many decades – be it through Milo school sports programmes or Nestomalt marathons. Being an organisation that has been present in Sri Lanka for such a long time, it also means that consumers hold many nostalgic memories from their childhood with our products.
(Q) From childhood treats to everyday beverages, Nestlé products often carry nostalgic memories. How important is this sense of nostalgia to the brand’s identity?
(A) Brands need to evolve with time and remain relevant. Nostalgia does bring a deep bond and connect with consumers. However, through product and packaging renovations, we have successfully ensured that our brands remain relevant to consumers. One of our oldest Nestlé brands in Sri Lanka, Milkmaid , today, has an online recipe platform with over 300 recipes. This is another example where we have ensured that our brands are able to connect with today’s consumers.
(Q) Has Nestlé adapted its products to suit modern lifestyles while still respecting local tastes?
(A) Our ability to cater to local taste preferences has been a crucial factor to the success of our brands. With the setting up of our local manufacturing operations in 1984, we now manufacture over 90% of Nestlé products sold locally. The deep consumer understanding our teams possess, combined with our global R&D expertise in the food and beverage sector, have given us the ability to tailor make our products to cater to the Sri Lankan taste palette while offering convenience. This is evident in the success of our Nescafe and Nestea 3-in-1 variants and the Ready-to-drink beverage range of Milo and Nescafe, that deliver convenience and great taste.
(Q) How is Nestlé aligning its practices to sustainability and mindful living?
(A) We are committed to reaching net zero carbon emissions by 2050. Promoting circularity is also a focus area in this journey. We have plans to be 100% plastic neutral this year. Our sustainability initiatives cover the entire value chain, from farm to fork. In Sri Lanka, we are focusing a lot on increasing yield and promoting regenerative agricultural practices across our dairy and coconut value chains. In our manufacturing operations, we have continuously striving towards reducing water and energy usage. We have also implemented numerous initiatives to reduce our carbon footprint in logistics, such as the adoption of rail transportation. We also focus on fostering behavioural change on responsible waste disposal amongst the youth through our School Waste Management Programme.
(Q) What moments or milestones best reflect its connection with everyday life in the country?
(A) Our ability to provide consumers with good food moments each and every day is something that I and the team are extremely passionate about. Also, the deep connect we have with the community, be it our dairy and coconut farmers, the numerous suppliers and trade partners, has been built on trust over the years. Today, we have farmers, suppliers and even employees from across generations and this speaks volumes about our business practices and the trust we have built in Sri Lanka for over a century.
(Q) Nestlé is known globally for innovation. How do you balance global expertise with the unique lifestyle and culinary culture of Sri Lanka?
(A) As I mentioned, understanding the taste palette, nutritional needs and the lifestyles of Sri Lankan consumers and ensuring our products fulfill these needs is key. Having access to one of the world’s leading R&D facilities gives us the unique ability to ensure our products deliver to these consumer needs and preferences. Further, it enhances our ability to ensure the freshness and bio-availability of certain nutrients contained in our products. We’ve also made significant strides in packaging innovation, where we use less plastic and materials that are better suited for recycling. The introduction of Coconut Milk Powder in 1986 was a first for Sri Lanka, and this is another great example of the deep understanding we have of local culinary culture.
(Q) How is the younger generation engaged with the brand today?
(A) Appealing to the discerning youth population will be key to ensuring the future success of our brands. Understanding the nuances of each generation is important. It is also evident that consumption patterns and lifestyles across generations are evolving rapidly. Staying abreast of these changes is something we are deeply committed to. In addition to delivering on taste and nutrition, being trendy and youthful – the purpose for which our brands stand for – is equally important. NESCAFÉ and MAGGI PAPARE BLAST are two brands that have developed a strong connect with Sri Lankan youth.
(Q) What vision do you have for the next chapter in Sri Lanka, especially in shaping lifestyle trends?
(A) Looking ahead, our vision is to continue enriching Sri Lankan lives by providing tasty and nutritious products and promoting healthier and active lifestyles. We will keep innovating to meet evolving consumer needs, while strengthening local sourcing and reducing our environmental impact. The next chapter is about deepening our positive impact – supporting communities, empowering youth and contributing to a resilient food system.
(Q) As the head of Nestlé Sri Lanka, what does celebrating 120 years personally mean to you?
(A) Celebrating 120 years in Sri Lanka is deeply meaningful to us, as it reflects the trust generations of Sri Lankan families have placed in Nestlé. This milestone is a testament to the dedication of our people and the strong partnerships we have built across the country. For me personally, it is both a moment of pride and a responsibility – to honour this legacy while continuing to work together for good, doing what is right for our consumers, our communities, and Sri Lanka.
By Zanita Careem
At a time when entertainment often overshadows education on television, K.C. Saranga has rewritten the script—securing a remarkable third consecutive win for Best Educational Programme at the Raigam Tele’es 2025.
His flagship programme, Jeevithayata Vidyawa (Science for Life), aired on Ada Derana, has not only dominated its category but also elevated the standards of educational broadcasting in Sri Lanka.
Reflecting on the milestone, Saranga described the win as more than a personal achievement. “Maintaining an award ceremony of this magnitude for 22 years is no small feat. Raigam Tele’es plays a pivotal role in uplifting the industry. By consistently recognising and rewarding Sri Lankan creators, it provides the necessary oxygen for television to evolve as a professional craft,” he said.
A veteran with over 25 years in the industry, Saranga—currently General Manager (News and Current Affairs) at TV Derana and Head of the Ada Derana News Channel—has seamlessly transitioned from hard news to impactful educational programming. His success underscores a broader vision: to harness television’s full potential as an audio-visual learning tool.
“There is a significant void in Sri Lankan television when it comes to high-quality educational productions,” he noted. “Television is an audio-visual medium; its true power lies in its ability to show, not just tell. We use multimedia elements—graphics, animation, and dynamic presentation—to grip the viewer’s attention.”
Saranga emphasised that his goal was to match global benchmarks. “If world-class science documentaries are available in English, our mission was to bring that same global standard to the Sinhala-speaking audience,” he said.
Through Jeevithayata Vidyawa, complex scientific concepts—from aerodynamics to cyclones—are presented in a manner that is both accessible and engaging, redefining the notion of “edutainment” in local television.
Expressing gratitude, Saranga credited his team and network for the continued success.
“This achievement is a result of a shared vision. My deepest gratitude goes to the management of Ada Derana. In an industry often driven by conventional ratings, they have consistently provided a sanctuary for creative freedom, allowing ‘out-of-the-box’ ideas to flourish,” he said.
He added: “To my incredible production team—this trophy belongs to you. Your technical skill and commitment have transformed simple ideas into a national standard. Finally, thank you to our viewers; your curiosity is our ultimate motivation. We will continue to prove that learning is an inspiring journey.”
Saranga’s hat-trick stands as a testament to the power of innovation in educational broadcasting—proving that knowledge, when presented with creativity and purpose, can captivate audiences just as effectively as mainstream entertainment.
By Ifham Nizam
The event “Style Surge,” organised by the Lions Club Elevate, was an evening filled with glamour, leadership and purpose collided in a spectacular fusion. The grand Ballroom at Galle Face Hotel became a canvas of fashion; every detail, from the floral centrepiece to the curated lighting, whispered elegance, while glamour set the stage, purpose was the back bone.
The show featured a curated selection of Sri Lankan designers, each bringing their signature styles to the stage.
The designers captivated the audience with bold, contemporary silhouettes that fused modern trends with traditional influence, creating pieces that were both sophisticated and wearable.
The batik ensembles by doyen of Batiks, Eric Suriyasena, were masterpieces, demonstrating the designer’s mastery in balancing artistry and practicality. Each piece told a story, highlighting the cultural nuances of Sri Lanka, while contributing to the glamour of the event.
The hair and make up for the models were curated by Salon Avra by Thushari de Silva and was nothing short of perfection,
From sleek, modern looks to elegant textured styles, Salon Avra ensured every model complemented the designer’s vision, highlighting the intricate details of each ensemble. The artistry on stage reflected a seamless collaboration between fashion beauty and presentation.
Style Surge unfolded an evening of elegance, creativity and purpose. It brought together Colombo style conscious crowd, social leaders and fashion enthusiasts and transformed the venue into a vibrant celebration of couture and compassion.
As the lights dimmed,the runaway came alive with a striking showcase of designs, ranging from contemporary chic to timeless sophistication, by designers like Eric Suriyasena, Anushko, Azeena Sulaiman and Jaywanthi Panibharatha. Leading fashion brands showcased were Aluminium, Disala, Eriq and Elegant Closet, and they presented a blend of contemporary and traditional fashion. Jewellery for the show was designed and sponsored by Blue Majestara Ceylon, . The Chief Guest was District Governor Lion Mahesh Borolugoda and his wife Lion Lady Sunethra Borolugoda.
Beyond glamour, this event, Style Surge, carried a meaningful mission to help rennovate two schools and improve educational facilities for future students
Lions Club of Colombo Elevate district 306D6, the organisers of this event, have been long synonymous with community development .The event underscores the power of fashion as a force of good.
Proceeds and awareness generated though the evening will be directed towards the clubs ongoing humanitarian initiatives, reinforcing its commitment to uplifting communities while engaging the public in an inspiring way.
In every sense, the event was more than a fashion show, it was a statement. This event reaffirms that glamour can also carry a purpose, creativity can spark compassion, and a runaway that can become a powerful platform for social change. This fashion show was graced by distinguished guests of honour , including designers Aseka Wijewardena, Michael Wijesuriya, Yolande Aluwihare, and Shyara Mendis
This event was organised by Lion Diana Nilanthi, Shen, Lion Thushari de Silva and Lion Shashika Hettiarachchi, whose commitment to creativity and attention to detail transformed the event into a truly memorable evening. They were the driving force that brought the vision of the show to life. Their meticulous planning, conceptualising the theme, coordinating the designers ensured the show ran seamlessly, from start to finish Pix by Thushara Attapathu
By Zanita Careem
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- Thushari de Silva
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- Kamal Addiarachchi
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- Azeena with a guest
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- Enjoying the Kamal Addiarachchi night of style
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