Mediaeval Sinhalese Art c10.s1.21

c10.s1.21

*Teaching in* Before leaving the subject of teaching drawing, it may be noted that it is one worthy *English* of close study in India and the East generally. The information gained from a com- *schools* parative study of the methods employed in different parts of India would be of the utmost historical, artistic and anthropological value. Since Indian craftsmen are admittedly masters of design, their methods of instruction should be of permanent interest and value to all interested in the teaching of drawing; and a proper and rational system of instruction might be introduced into English schools in Ceylon, where at present the poor learner is put through the old-fashioned South Kensington mill, and may ‘learn drawing’ without acquiring any knowledge of Indian traditional design, or in any way connecting the subject with his ordinary life or the past history of his country. The object of teaching drawing should surely be educational, and not merely utilitarian! I have not space to enter into the subject at length; but the points which I consider of greatest importance are, (1) a greater recognition of the value of drawing from memory; (2) instruction in the use of ruler and compasses at an early stage, the drawing of curves to be taught first of all, leaving the straight lines to take care of themselves later. Anyone who can draw accurately a sensitive curve could also draw a straight line; (3) the postponement of model drawing to a late stage; (4) the elimination of scientific perspective from the ordinary drawing course; (5) recognition of local tradition, by a large use of Eastern decorative forms for freehand work, and of brass and earthenware for model drawing; and (6) cultivation of taste in, by explanation of, the principles of design, and exhibition of examples or pictures of good work, mainly oriental. I do not wish to condemn direct drawing from nature, but rather to postpone it to a late stage in the actual drawing course; at an earlier stage I would introduce it only in connection with nature study and not as a part of the actual instruction in drawing. A logical contrast would thus be drawn between drawing as a means of recording observations of scientific interest or practical value, and drawing as an art, *i.e.*, as a means of interpretation of nature; and both points of view would be of interest.