AVANTI SRI NISSANKA KARUNARATNE: HER JOURNEY IN ART
Avanti Sri Nissanka Karunaratne needs no introduction. Having a successful career comprising many areas of human interest, she is a master Gemmologist, Geologist, Jewellery Designer, Scientist and Publisher. She is also a well known artist. We had a chat with her.
Q CAN YOU PLEASE TELL US BRIEFLY ABOUT HOW YOU GOT INTO ART AND ABOUT YOUR JOURNEY IN ART THUS FAR? When I was a little girl, I would often stand in awe of a massive 12foot painting in my mother’s home— Yamuna Mandhir, a commissioned piece by my grandfather, Herbert Sri Nissanka KC. It depicted the Lord Buddha descending from Thusitha, painted by the renowned artist Karl Kasmann, who also created the iconic mural at the Kelaniya Temple. That painting hung under the grand dome of Yamuna Mandhir, and it was my introduction to Buddhist art—the foundation of my artistic spirit. In 1972, political turmoil led our family to move to Nelson, New Zealand. I was finishing school and chose to study art as an extra subject. Later, I studied science at the University of Christchurch, majoring in Geology and specializing in Mineralogy, with Botany and Zoology as minors. Eventually it was time to return to Sri Lanka to be with my ailing mother - Yamuna Devi Manil Sri Nissanka. I was blessed with five precious years before she passed. This journey in art has been one of rediscovery, resilience, and reverence.
Q YOU MENTIONED THAT YOU LIVED IN A TINY APARTMENT IN FLORENCE MOSTLY PAINTING – TELL US ABOUT THE EXPERIENCE. My time at the Michael Angelo Academy was the most enriching experience of my life. I was finally doing something I passionately loved—something I had dreamed of for nearly 20 years but had never found the time or opportunity to pursue. Progress was slow but deeply rewarding. Each student moved at their own pace.
Q TELL US ABOUT YOUR BACKGROUND IN GEMMOLOGY AND EXQUISITE JEWELLERY. It all began with my grandmother and mother, both remarkable women and true connoisseurs of fine jewellery. My grandmother, Florence “Flori” Gunasekara Karunaratna, wore traditional Sri Lankan jewellery with elegance. My mother, Yamuna Devi Manil Sri Nissanka, a celebrated beauty of her time, adorned herself in the most fabulous, Bollywoodstyle pieces—many of which featured exquisite Sri Lankan semi-precious stones. I enrolled in gemological studies through what is now known as the Gemological Institute of Great Britain.
I was possibly the youngest student to qualify as an FGA (Fellow of the Gemmological Association), and I had the privilege of being taught by legends in the field such as Robert Webster and Anderson. www.life.lk FRIDAY APRIL 18, 2025 My time at the Michael Angelo Academy was the most enriching experience of my life. I was f inally doing something I passionately loved Chief Designer for the Al-Rajhi Bank Jewellery Division. It was an extraordinary time. I had access to trays of precious gems and complete creative freedom. It felt like being let loose in Aladdin’s Cave. The designs were opulent, and the clients discerning. This chapter taught me not only design, but also couture and presentation—shopping in Paris at Dior and Yves Saint Laurent became part of the job.
With the outbreak of war in the Middle East and a young son to care for, I relocated to Sydney. As my children grew up, I explored new creative avenues. I travelled to New York, published books (one of which became an Amazon bestseller), and eventually returned to Sri Lanka. Q TELL US ABOUT My journey led me to the Gemological Institute of America (GIA) in Los Angeles, where I was taught by the legendary Richard Liddicoat himself. Topping my class, I was invited to stay on as a teacher. However, life had other plans—I got married and moved to Riyadh, Saudi Arabia, where I became the I once lived in my painting life in a tiny attic apartment on Via Santo Spirito 6, in Florence—just off the Ponte Santa Trinita, nestled in an old Medici building that looked out over the river Arno. From there, I could see the Arno stretch like a ribbon of gold beneath sunsets that painted the sky in breathtaking hues.
On warm evenings, crowds would gather on the bridge, cameras ready, trying to hold on to that fleeting beauty. Sometimes, my son and daughter visited. It was such a gift to share this place with them. Florence has always felt familiar to me, as if I’ve known it for lifetimes. There was a deep sense of déjà vu, of belonging. Each day was a gift I wasn’t just painting—I was learning what it meant to make a difference in the world. I portray our heroes not just with historical accuracy, but with reverence - I see them as beautiful individuals, richly adorned, with grace in their posture
Q YOUR OWN UNIQUE HISTORICAL PERSPECTIVE WHICH YOU DEPICT IN YOUR PAINTINGS. My personal perspective as a historical painter is deeply immersive. When I paint, I usually focus on one painting at a time, allowing myself to fully enter its world. Although not all my work is historical, much of it is inspired by a unique blend of personal experience, academic research, and artistic intuition. I grew up surrounded by history. Both my parents had a strong passion for it, which naturally influenced me. Living abroad for 42 years broadened my outlook and gave me a global understanding of history. I portray our heroes not just with historical accuracy, but with reverence—I see them as beautiful individuals, richly adorned, with grace in their posture and elegance in their attire. While others may not view them through the same lens, this is the truth I see and feel.
My attention to detail stems from a long career in jewellery design— having designed for royals such as Princess Diana, Elizabeth Taylor, and royal families of Arabia and Jordan, I have a trained eye for precision and beauty. This same precision now lives in the intricate jewellery, clothing, and accessories I paint. My love for my country also f inds its way into my canvases. I often paint the glorious mountains of Senkadagala—Udarata—the place I call home. In every painting, I try to ARRIVAL - The Journey of Buddhism to Lanka Dweepa Flight of the walikukula- our national bird Maha Adikari Kapperipola – Uva Wellassa Revolt (1818) Artist: Avanti Sri Nissanka Karunatunga This artwork depicts Maha Adikari Kapperipola, a key figure in the Uva Wellassa Rebellion of 1818, courageously defending the territory against British colonial forces. The painting honors the spirit of resistance and patriotism during a pivotal uprising in Sri Lanka’s history. tell a story—rich with detail, emotion, and meaning.
Q BRIEFLY TELL US ABOUT YOUR RECENT FIVE PANEL PAINTING TITLED ARRIVAL - THE JOURNEY OF BUDDHISM TO LANKA DWEEPA. This is a beautifully detailed Painting and culturally rich overview of the five-panel painting series That makes up one painting. It is an immersive artistic tribute to pivotal moments in the transmission and preservation of Buddhism in Sri Lanka. The narrative unfolds with both historical reverence and visual continuity ( LOCATION- Ajith and Premala Jayarathna’s Property ) This monumental painting series chronicles the sacred and historic journey of Buddhism to Sri Lanka, told across five interwoven panels that blend visual storytelling with epic narrative.
Q TELL US ABOUT YOUR FOCUS ON LARGE INSTALLATIONS. My focus on large installations comes from a deep desire for freedom in artistic expression. Coming from a world of gems and jewellery, I was used to creating valuable, intricate work on a very small scale. But when I decided to paint, I craved the opposite— expansiveness, movement, and the challenge of working large. I wanted to see if I could command a space, fill it, and still make something meaningful. Large-scale work gives me that confidence—when you’re standing in front of a blank wall and you’re the one who brings it to life, it’s incredibly liberating.
Q TELL US HOW YOU EXPRESS THE REVIVAL OF HISTORY- SPECIALLY HOW WE AS A NATION SHOULD REMEMBER WHO WE ARE. My family travelled extensively across Sri Lanka. I was deeply moved by the grandeur of oncemighty structures now in ruins, by the wisdom still flowing through ancient irrigation systems— from the cascading waters of Panduwasnuwara to the majesty of Sigiriya. These silent witnesses remind us: we were once a nation of innovation, art, and philosophy. Art is my way of reviving history. My portrait of King Vimaladharmasuriya I is not just a painting—it’s a thank-you, a tribute, and a spark. I hope the younger generation sees these works and begins to question: Who are we? Where did we come from? Because to succeed in the future, we must know where our roots lie. Only those without foundation flounder. We are not a forgotten people. We are a people needing to rediscover our greatness – in this is our strength.
By Kshalini Nonis