In the landscape of Sri Lanka’s corporate and legal sectors, few names carry the quiet weight of . While he may not be a headline-grabbing public figure, those who navigate the upper echelons of finance, taxation, and corporate law recognize him as a formidable architect of modern regulatory practice.
In the world of mergers, acquisitions, and international defense projects, legal expertise is the bedrock of success. Prasanna de Silva
Before ascending to the bench, Prasannajit De Silva had a long and impactful career as a practicing lawyer.
is an esteemed art historian, academic, and lecturer specializing in 18th- and 19th-century British visual culture, particularly the art produced by the British within colonial settings. Through his seminal monograph, Colonial Self-Fashioning in British India, c. 1785–1845: Visualising Identity and Difference , and extensive lecturing with institutions like Birkbeck, University of London and The Arts Society, de Silva has challenged long-standing romanticized narratives of the early British Raj. His work meticulously deconstructs how portraiture, landscape painting, and prints served as critical mechanisms for negotiating a fragile, contested, and fluid imperial identity. Academic Background and Career
Beyond public health, de Silva is an established voice in the study of South Asian colonial history, visual culture, and identity. prasannajit de silva
His lectures include:
After stepping down from the SEC, Prasannajit de Silva returned to full-time practice as a President’s Counsel, leading the litigation department at one of Sri Lanka’s leading firms. He continues to serve as an independent director on several blue-chip companies and as a panel arbitrator for the London Court of International Arbitration (LCIA).
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His work primarily explores how visual culture—including portraiture, landscape painting, and architecture—reflected the evolving social and racial identities of the British Raj. In the landscape of Sri Lanka’s corporate and
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Dr. de Silva continues to be an active presence in the public lecture circuit and in adult education. He is a regular speaker for The Arts Society and for local history and antiquarian clubs. His teaching roles have evolved over time, but his core mission remains the same: to make the rich visual culture of eighteenth‑ and nineteenth‑century Britain, both at home and across the Empire, accessible and engaging to a wide audience. His work is a testament to the continuing relevance of art history for understanding the complex legacies of colonialism and the formation of modern identities.
Prasannajit becomes known as a reformer in the Kandyan Kingdom, advocating for a synthesis of Buddhist ethics and pragmatic governance. His seminal work, Sathya Prasanna ("The Path of Light"), argues that societal harmony arises not from rigid dogma but from compassionate action and introspection. Key tenets include:
A critical component of de Silva's work is the visual exploration of unconventional domestic spaces. During the early phases of the East India Company, it was common for British men to form long-term relationships with Indian women, known as bibis . De Silva meticulously analyzes: Prasanna de Silva Before ascending to the bench,
He is a frequent and sought-after speaker for and the London Art History Society , where his lectures are noted for being meticulously researched and insightful.
De Silva’s career began with a rigorous grounding in law. Armed with degrees in law from Sri Lanka and further qualifications as an Attorney-at-Law, he quickly distinguished himself not through flashy court theatrics, but through meticulous mastery of corporate statutes and fiscal policy. His early work focused on the intersection of commercial law and tax regulation—a niche that would define his legacy.
Colonial Self-Fashioning in British India, c. 1785-1845: Visualising Identity and Difference , published by Cambridge Scholars Publishing in 2018. Academic Background: