• Architect Sagara Jayasinghe on Tamil Christian art and architecture in northern Sri Lanka

In the vibrant landscape of Sri Lanka’s architectural and cultural heritage, one name resonates profoundly: Sagara Jayasinghe. A practising architect and a design researcher, Jayasinghe’s journey is a testament to his unwavering dedication to preserving and unravelling the layers of Sri Lanka’s rich cultural tapestry.

With a major focus on cultural heritage, colonialism, missionary movements, and ecclesiastical architecture, Jayasinghe’s work transcends the boundaries of conventional architectural practice. His passion for documenting and preserving colonial heritage facets, particularly through systematic architectural drawings of church buildings and liturgical art, has been instrumental in safeguarding Sri Lanka’s architectural legacy.

Over the past decade, Jayasinghe has disseminated his wealth of knowledge to architectural communities worldwide. His published books, conference papers, public lectures, and journal articles serve as beacons illuminating the intricacies of art and architecture, both locally and overseas. Recognised for his significant contributions, Jayasinghe’s authorship has earned him prestigious accolades, including the Architectural Publications and the Architectural Research Gold Award at the Sri Lanka Institute of Architects Annual Awards.

Beyond his scholarly pursuits, Jayasinghe’s creative enterprise extends to the realm of practice. His architectural commissions showcase a fusion of artistic vision and technical expertise, earning him accolades such as the Dulux Colour Award and the coveted Young Architect of the Year award. From architectural projects to communication design and exhibitions, Jayasinghe’s multidimensional approach reflects his boundless passion for creativity and innovation.

Jayasinghe stands as a guardian, unravelling the enigma of the past while shaping the narratives of the future. His unwavering commitment to preserving and celebrating the nation’s architectural legacy continues to inspire and illuminate, inviting his audience on a journey of discovery and appreciation for the timeless beauty woven into the fabric of Sri Lanka’s architectural heritage.

The Daily Morning sat down with Jayasinghe as he took us on a journey through time, culture, and art, delving into the intricate threads of Tamil Christian artistic expression in northern Sri Lanka. At the heart of this exploration lies the ‘Cultural Mosaic’ exhibition, curated by him. 

Throughout our conversation, Jayasinghe shared insights into the significance of the convergence of 19th-century Tamil Christian art and architecture, the influence of traditional Hindu religious practices, compelling stories depicted in the vibrant posters of the exhibition, challenges encountered in crafting an immersive experience, and the aspiration for visitors to embrace and preserve the transcultural heritage showcased within the ‘Cultural Mosaic’ exhibition.

He unravelled the rich tapestry of Tamil Christian artistic expression, celebrating resilience, beauty, and cultural integration in northern Sri Lanka.

Following are excerpts from the interview:

What inspired you to curate the ‘Cultural Mosaic’ exhibition, focusing on Tamil Christian art and architecture in northern Sri Lanka?

The inspiration behind curating the ‘Cultural Mosaic’ exhibition on Tamil Christian art and architecture in northern Sri Lanka stems from a profound observation of the region’s socio-cultural evolution, particularly in the aftermath of the prolonged 30-year conflict. The impact of this conflict temporarily obscured the tangible experience of social and cultural distinctiveness in the north, revealing previously unknown facets such as hidden old churches accessible only after the Civil War concluded.

These rediscovered churches, distinctively characterised by indigenous and tropical elements, sparked my immense interest. Their architectural models, radically different from those in southern Sri Lanka, provide a unique look into the convergence of local influences with European and Indian traditions. What sets them apart is their architectural and artistic distinctiveness and the profound influence of a Tamil cultural ethos enriched over centuries by traditional Hindu religious practices interwoven into the native Christian population. The exhibition aimed to unravel these layers of heritage, offering a glimpse into the complex interplay of influences that have shaped the region, presenting a narrative that extends far beyond the confines of the church walls.

Can you elaborate on the significance of the convergence of 19th-century Tamil Christian art and architecture in northern Sri Lanka?

Christianity in Sri Lanka reached its zenith in the early 19th century. For instance, the Catholic ‘mission field’ underwent significant restructuring during this moment. Establishing the Vicariate of Jaffna and the Vicariate of Colombo marked a pivotal moment, enabling the northern native Catholic population to reassert their social and cultural singularity, partially compromised under British provincial administration. In the Vicariate of Jaffna, a unique Tamil cultural ethos emerged, influenced and fortified by traditional Hindu religious practices, forming a lasting, vibrant tapestry evident in the region’s art, architecture, folklore, and rituals. This background influenced me to name the exhibition ‘Cultural Mosaic’.

How did traditional Hindu religious practices influence the development of Tamil Christian art and architecture in the region?

Over four and a half centuries, Sri Lanka experienced the domination of three successive Euro-Christian nations. Beyond their economic pursuits, these colonial powers sought to imprint their own brand of Christian ideologies during their conquests. The missionary methods and religious policies employed differed significantly from Catholic to Protestant versions of Christianity. The different orders, denominations and sects of the Catholic and Protestant missionaries brought about significant changes in the socio-cultural and religious lives of the diverse communities of northern Sri Lanka.

However, Catholicism’s external religiosity and cultural makeup were deeply embedded into the converted natives over the centuries and stood out from its counterparts. This distinction is particularly pronounced in northern Sri Lanka, where a tapestry of intercultural similarities persists within the rich material cultures of both Hindus and Catholics, showcasing the enduring influence of traditional Hindu religious practices on Tamil Christian art and architecture.

Could you discuss some of the most compelling stories depicted in the vibrant posters of the exhibition?

One of the most captivating stories in the exhibition unfolds through the vibrant posters, shedding light on an overlooked aspect of Tamil Christian paintings in northern Sri Lanka. Specifically, the focus is on the religious paintings created by the Goan Oratorian missionaries during the 18th and early 19th centuries. These paintings served as a powerful tool for ecclesial contextualisation within the local community, transcending linguistic barriers. Notably, the posters vividly showcase the only remaining examples of these paintings at Our Lady of Assumption Church in Parappankandaal, depicting the episode of the ‘Way of the Cross.’

What challenges did you encounter while crafting an experience that transcends time and allows viewers to delve into the layers of history and heritage?

Crafting an immersive experience that transcends time and delves into the layers of history and heritage presented a formidable challenge. The absence of physical artefacts necessitated a reliance on images, photographs, and bilingual text alone. Overcoming this hurdle involved employing a vibrant colour palette for the posters and incorporating a rare collection of old images painstakingly gathered during field visits to the region over the past decade. The collaboration with clergy and local communities proved instrumental in sourcing these invaluable images.

In what ways does the exhibition bridge the gap between remnants of the past and present-day distractions, as you mentioned?

The exhibition serves as a bridge between remnants of the past and contemporary distractions, addressing the formidable task of raising awareness about cultural and religious heritage in post-conflict environments. Physical development often takes precedence in the aftermath of war or counterinsurgency, overshadowing the need to rebuild and restore cultural heritage. This exhibition, albeit modest in scale, plays a vital role in fostering healing and resilience within communities by reconnecting them with their cultural roots and providing a tangible link between historical artefacts and the distractions of the present day.

What motivated the collaboration between the University of Jaffna and St. Xavier’s College, Tamil Nadu, for the International Conference on Tamil Christian Art Worlds?

The collaboration between the University of Jaffna and St. Xavier’s College, Tamil Nadu, for the International Conference on Tamil Christian Art Worlds stems from recognising the intertwined cultural histories of South India and northern Sri Lanka. Despite the contemporary geopolitical boundaries, these regions share a rich cultural tapestry shaped through centuries of migration, trade, and connections. The common thread of Christianity further strengthens this cultural bond, as evidenced by the exhibition panels showcasing various forms of artistic and architectural heritage. This collaboration is a testament to the commitment to preserving and celebrating this shared cultural legacy.

Could you share some insights into your research focus on cultural heritage, missionary movements, and ecclesiastical art and architecture in Sri Lanka?

In the course of my ongoing PhD research at the ARTIS Institute of the Faculty of Humanities, University of Lisbon, Portugal, my focus turns around the exploration of Christian art and architecture during the colonial period in northern Sri Lanka. This endeavour offers a unique lens through which I examine the intricate assimilation of European architectural norms into the vibrant cultural tapestry of Sri Lanka. As pioneers in Christian missionary movements in the Orient, the Portuguese introduced European ecclesiastical architectural traditions to Asia. Over time, these traditions harmonised with local cultural and building practices. This exhibition serves as a tangible manifestation of this assimilation process, illustrating the interweaving of European and indigenous influences in religious art and architecture.

As the driving force behind the ‘Cultural Mosaic’ exhibition, what do you hope visitors will take away from this celebration of Tamil Christian artistic expression?

Spearheading the ‘Cultural Mosaic’ exhibition, my aspiration is for visitors to gather a profound appreciation for the rich Tamil Christian artistic expression showcased within. Over three centuries, clergy and communities in northern Sri Lanka have established distinctive religious art and architectural traditions influenced by a fusion of European, Indian, and local elements.

Sadly, these traditions face an ongoing threat of dilution as contemporary construction agendas often prioritise ‘modern’ church structures, leading to the abandonment or complete demolition of historic early 19th-century places of worship. Through this exhibition, I sought to create a conduit for the northern community to recognise and embrace the significance of preserving this invaluable piece of transcultural heritage, possessing outstanding universal value.