The origins of the University of the Visual and Performing Arts can be traced back to 1893, marking a legacy of more than a century in the field of higher education in the arts. In 1896, the British colonial administration introduced a formal course in drawing and painting at the Ceylon Technical College, which was housed in a renovated coffee warehouse located adjacent to the Ceylon Railway Terminal in central Colombo. Over the course of the colonial period, the institution emerged as a pivotal centre for technical and engineering education. In 1902, the Colonial Office in London appointed Alfred Bartlam to establish and advance art education within the Ceylon Technical College. Bartlam had received his artistic training at the Department of Science of the Royal College of Art, London, as well as at the City and Guilds of London Institute of Technology.
The institution, originally founded in 1893 as the Ceylon Technical School, underwent a significant transformation when it was restructured as the Government Technical College in June 1910. Within this institution, the art division was systematically organized into two distinct branches, namely drawing and painting, reflecting the growing emphasis on specialized artistic training. The pioneering responsibility for directing this program was entrusted to Mr. Alfred Bartlam. By the 1920s, administrative leadership of the Technical College was assumed by Mr. F. E. Kennard, further consolidating its academic development.
As a matter of fact, the introduction of formal art education in the late nineteenth century marked the birthplace of a new art movement in Sri Lanka, which continued to serve as a major centre of influence in the new century by producing pioneering artists of Sri Lankan art history such as J. D. A. Perera. Perera pursued his artistic training at the Ceylon Technical College, where he studied under its principal, A. E. Bartlem. Owing to his exceptional proficiency and dedication to painting and drawing, he was appointed to the position of assistant instructor under the guidance of the art master D. John Perera. In 1927, J. D. A. Perera entered into matrimony with Brin Hilda Augusta Karunathilaka (Chandraleka), who, a few years later in 1931, pursued studies in Art at the Ceylon Technical College. This personal association further strengthened his intellectual and professional ties to the institution, situating his family life in close connection with the evolving artistic and educational milieu of the period.
In 1933, following the retirement of Mr. H. E. Kennard from the principalship of the Ceylon Technical College in the previous year, Mr. E. M. Bartlam assumed leadership of the institution. Under his administration, the College initiated a process of revising its courses in drawing, painting, sculpture, and photography in order to align with the emerging industrial demands for craft and design. The introduction of art subjects alongside technical courses by the Minister of Education, C.W. W. Kannangara, led to a significant increase in the number of students enrolling in art courses within the Department of Art, thereby creating the need for more spacious facilities. During the 1940s, among the notable students of the Technical College were S.P. Charles, Sumana Dissanayake, L.S.G. Amararathna, and R.H. Senarathna, while, in the same period, Mr. Stanley Abeyasinghe joined the institution as a member of the teaching staff.
In 1945, J. D. A. Perera was appointed Director of the Technical College. The following year, he received a foreign scholarship to pursue advanced studies in England, and upon his return to Sri Lanka in 1948, he resumed his role as head of the Art Department at the Technical College. That was a government scholarship to further his studies at the Royal College of Art in the United Kingdom, a prestigious opportunity that significantly advanced his technical skills, particularly in the depiction of figurative subjects. During his time in London, Perera actively sought to expand his artistic horizons, drawing inspiration from prominent British artists such as Augustus John, and deeply engaging with the British portrait tradition, which became distinctly evident in his subsequent works. Upon his return to Sri Lanka, he began to incorporate the techniques and principles assimilated in London, effectively integrating Western art traditions into his practice. This engagement with European academic approaches marked a pivotal moment in his career, profoundly influencing the development of art education and aesthetic discourse in Sri Lanka.
Upon his return to Sri Lanka, he proactively undertook the task of identifying and securing a new location for the Art Department. As a result of this, in 1949, J. D. A. Perera established an independent art school at No. 46, Horton Place, Colombo 7 within the premises popularly known as the “Haywood Building,” which had previously functioned as a club operated by the Rens organization, an institution formed by Australian soldiers who had come to Sri Lanka. Subsequently, the Art and Craft Department of the Technical College was relocated to this site, where the curriculum was restructured into a five-year diploma program. Upon successful completion, students were awarded a diploma certificate, thereby formalizing professional training in the visual arts. This development signified a pivotal moment in the evolution of Sri Lankan visual culture, marking the foundation of a new institutional framework for art education, which came to be widely recognized as “Haywood.” J. D. A. Perera not only assumed the role of the institution’s first principal but also emerged as a central figure and catalyst in shaping the trajectory of modern art education in Sri Lanka, working alongside faculty members including B.S. Perera, Morris Perera, D.D.W. Hanwella, L.S.C. Amararathna, D.F. Ranasinghe, Rathi Dhanapala, and T.U. De Silva.
On October 24, 1956, J.D.A. Perera retired, and Mr. David Paynter assumed the role of acting principal, later becoming the academy’s director in 1957. The College underwent significant transformations during the 1950s, particularly under the leadership of Paynter, the versatile Sri Lankan painter and Royal Academician, who was appointed as its second principal. As the second most prominent artist to influence the advancement of art education in Sri Lanka, Paynter played a pivotal role in shaping the institution’s artistic direction. Following this period, the faculty comprised distinguished members such as W.A. Ariyasena, D.F. Ranasinghe, P. Wanigathunga, N.Q.P. Saldeen, P. Kumarasinghe, L.T. Kariyawasam, M.N. Kandayiya, S.J.P. Wijesena, P.B. Herath, M.B.M. Gous, M. Rajapaksha, A.K.V. Wijesekera, Senarath Nandadeva, among others, all of whom contributed to the enrichment of the College’s academic and artistic environment. Later, Mr. Dayananda Mel, who completed his education at Shanthi Nikethan, joined the teaching staff.
In 1952, music and dance courses were formally integrated into the school’s academic curriculum. This strategic inclusion granted these disciplines institutional recognition comparable to that already afforded to visual arts and crafts, thereby acknowledging their equal significance within the broader spectrum of artistic education. Concurrently, reflecting its expanding academic scope and diversified artistic focus, the institution was renamed the Government College of Fine Arts in the same year.
In 1953, the sections of music and dance were relocated to new premises at Albert Crescent in Colombo 7, thereby establishing distinct facilities for the visual and performing arts. This reorganization provided expanded infrastructure, specialized spaces, and enhanced resources for each department. Subsequently, in 1956, the institution relinquished its former title of the Government College of Fine Arts and was reconstituted as the National Art Institute. Administrative oversight was transferred to the Ministry of Education, which structured the institute into three schools, following existing pedagogical frameworks: The School of Art and Sculpture, the School of Music, and the School of Dance and Ballet. The leadership of these schools was entrusted to eminent figures in their respective fields Stanley Abeysinghe, a distinguished artist; Lionel Edirisinghe, a renowned musician; and S. Panibharatha, a versatile and celebrated dancer.
Since J. D. A. Perera’s resolution in 1947 to establish a distinct academic institution for the systematic teaching of art and craft, a series of pivotal decisions have shaped the trajectory of the institution. A landmark development occurred in 1974, following the recommendations of Professor H. G. Hanamante, Head of the Sir J. J. Institute of Applied Arts, and S. C. Palskar, Head of the Sir J. J. College of Fine Arts, India. In recognition of the sustained contributions of these colleges to the preservation and advancement of national culture and the arts, and in acknowledgment of their service to future generations in Sri Lanka, the institute was granted university status in 1974. Concurrently, the institute underwent a nominal transformation, adopting the title Institute of Aesthetic Studies. This reconstituted entity was established under the University of Sri Lanka, integrating the Government College of Art and Sculpture, the Government College of Music, the Government College of Dance and Ballet. Around 1976, the institute was renamed as the College of Art and Design. On 1979, it was renamed as the Institute of Aesthetic Studies, University of Kelaniya.
Following these institutional advancements, in 1978, the Institute witnessed a historic milestone with the conferment of the “Bachelor of Fine Arts” degree for the first time in its history. In this landmark event, a total of sixty-three students were awarded the degree: forty-two from the Department of Arts, eleven from the Department of Dance, and ten from the Department of Music. This occasion marked a significant moment in the Institute’s academic development and its commitment to fostering professional training across diverse artistic disciplines.
Subsequent structural reorganizations within the university system in 1979 led to the Institute of Aesthetic Studies being affiliated with the University of Kelaniya. Between 1979 and 1994, the institute briefly operated a branch at “Sri Palee” in Horana. However, in 1994, the Horana branch was closed, and students were recalled to continue their studies at the Colombo campus.
Since 1979, the Institute of Aesthetic Studies functioned as a fully-fledged degree-awarding institution; however, it took thirty-five years for it to attain independent university status. In 2003, President Chandrika Bandaranaike Kumaratunga appointed a commission under the leadership of Professor Senaka Bandaranayake to assess the institution’s eligibility for independent university designation. Following the recommendations of the commission, the University Grants Commission of Sri Lanka established the University of the Visual and Performing Arts in 2005, marking it as the youngest member of the country’s higher education sector, while the Haywood building premises were simultaneously converted into the Faculty of Visual Arts. The formal establishment of the university was announced through a special Gazette notification issued by Her Excellency President Kumaratunga, effective from July 2005. Dr. Lester James Peries was appointed as the first Chancellor, while Professor Sarath Amunugama assumed the role of the inaugural Vice-Chancellor.
Since its establishment as an independent university, the institution has experienced significant development in both infrastructure and facilities. As students are provided with additional classrooms and dedicated spaces for their academic pursuits, the expansion of student accommodation infrastructure has likewise become a priority to meet growing demand. The J. D. A. Perera Gallery, situated within the Horton Place campus as the largest art gallery in Sri Lanka, has established a permanent collection of works by David Paynter, while a temporary exhibition gallery and the Haywood Art Museum are set to open soon. In response to increasing demand for advanced multimedia facilities and high-tech electronic equipment, the university continues to enhance its infrastructure. This expansion supports the growth of research initiatives and postgraduate programs, positioning the institution to achieve parity with other established universities in Sri Lanka.
Since its inception, the University of the Visual and Performing Arts has played a central role in the development and expansion of Sri Lanka’s aesthetic education. As a dynamic and influential institution, it has nurtured generations of artists and performers who have significantly shaped the country’s artistic and cultural landscape. As the sole university in Sri Lanka devoted exclusively to the study and advancement of the visual and performing arts, it possesses a distinctive identity, setting it apart from other higher education institutions in the nation.