From abstract to a flower here, a cloud there
The 2nd exhibition of paintings by Dr. Justin Samarasekera will be
on at the Lionel Wendt on July 10, 11, and 12.
 Since
his last ex- hibition of paint- ings in May, 1997 Dr Justin Samarasekera
has continued to point and has tried his hand at portraits and abstracts.
The painting 'Yab-Yum', the union of Male and Female energies, is
an abstract original in the Indian Tantric style and tradition. Yet he
continues to be fascinated by the environment. Wattakka Mal, Aththora,
Araliya, Pol Mala, Bin Thamburu, Gandapana, and Ehela, scenes
from Muthurajawela, Marsh-birds, Marsh Dwellers and Wetland, are all examples
of this interest.
He has adopted scroll paintings to illustrate some of his new works.
There are six scrolls exhibited, including 'Humbled by a Giant'
where he portrays himself seated on a log mopping his brow after a fall.
This relates once again to the Sinharaja environment.
His fascination with clouds is shown in the paintings of sunrises and
sunsets which go into a riot of colour.
The painting "Flamb oyant (Mai Mara) with Mal Kohas"
is a familiar scene in May. This painting is now the property of the Sampath
Bank.
Dr. Samarasekera is the doyen of the Architectural profession in Sri
Lanka.
The Kalutara Bodhi, among other edifices stands today as a monument
to his skill and creativity. He is also credited with designing the temporary
Audience Hall for the transfer of power by Britain to Ceylon in 1948 and
some of the new buildings of Royal College, Colombo. Many of the Central
Schools and Training Colleges in Sri Lanka, built between 1946 and 1960,
which include Ibbagamuwa, Nugawela, Tholangamuwa, Thalathuoya, and Anuradhapura
are his work. The Sri Pada College of Education in Kotagala, built between
1987 and 1998 is his most recent contribution in this field.
In April, 1996 Dr. Samarasekera began painting once again and his first
Exhibition in May, 1997 and the second in July 1998 represent his contribution
as a painter.
Challenges ahead
In the 21st cen- tury, Sinhala journalism
will have to reach a more sophisticated readership. In the face of challenges
offered by the electronic media and the technological advancement of the
printing industry, Sinhala journalism can progress only with the commitment
of journalists who understand the needs of readers and act responsibly,
and in accord with the government's stand on press freedom.
A media researcher draws attention to the future trends in a publication
on the recent history of Sinhala journalism (Sinhala Puwathpath Kalawe
Metha Itihasaya), the first of a series of manuscripts to be published
by the Mass Media Unit of the Colombo University. Its author is Sandagomi
Koparahewa, an assistant lecturer in the Department of Sinhala who earlier
lectured in the Unit.
Looking back, he says the development of the Sinhala Press in Sri Lanka
has been closely linked to the political, cultural and social changes that
took place from time to time. After Independence the relationship between
the newspapers and politics was one of conflict. The confidence of readers
broke down whenever there were attempts to give a political twist to the
newspapers. Even when the government tried to broadbase the ownership and
management of newspapers, it resulted in greater control by the government.
Meanwhile, the publishing of newspapers continued to be restricted to a
few individual businessmen.
Tracing the history of Sinhala newspapers briefly, dating back to the
1860s when Lankalokaya (1860) and Lakmini Pahana (1862) followed
by Sarasavi Sandaresa (1880) and Dinapatha Pravurti (1895)
were started, the writer considers it significant that there was a reading
public even before the end of the 19th century warranting the publication
of daily newspapers.
Newcomer
Joining the band of new film-makers is yet
another young man who has been trying his hand at creating something different.
He started with theatre, then created teledramas and has now moved over
to cinema. He is Asoka Handagama whose maiden effort at film making Chanda
Kinnari hit the Fifth Circuit devoted to quality films.
Asoka started with two much talked about dramas, Hena and Magatha.
His first teledrama was Dunhinda Addara which was followed by Diyaketa
Pahana. While the themes of these were quite different to the normal
teledramas, Asoka also introduced several new faces to the small screen,
moving away from the usual glamorous stars whom most directors look for.
Now a producer
Joining the band of producers is the versatile
actor Joe Abeywickrema, who has just done a teledrama.
Titled Ima Diyamankada, it is based on Joe's own script. Describing
it as a "period piece," Joe says he has attempted to talk about
a popular form of trading in the good old days - the barter system when
people exchanged goods at a time when cash was not much in use.
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