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Arts & Communication Visual decoding: Buddhist image houses

criteria to delineate decorative motifs, considering various spectrum of Asian and European design traditions.
factors such as components, connections, sources of Through rigorous investigation, it has been established that
inspiration, roles, applications, and modes of reference. Sri Lankan decorative motifs possess a singular identity
In this context, decorative motifs are recognized within Southeast Asian design frameworks, characterized
as integral components of artistic expression and by a rich historical lineage of regional design adoption and
dissemination.
fundamental elements of the visual narrative. They forge
a deep connection with their physical and contextual 5. Results
surroundings, often transcending mere esthetic
embellishments. Derived from natural forms, these motifs These motifs take on a visual form, emphasizing the visual
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possess the ability to evoke profound sentiments and field to satisfy the innate human desire for visual pleasure.
associations, resonating with the architectural framework Initially conceived for a common purpose, decorative
within which they are incorporated. This study endeavors motifs undergo a division of objectives, resulting in
to highlight the role of decorative motifs as a key criterion distinct sections in their application and subtle utility.
within this analytical framework, shedding light on their While serving a decorative purpose, this study grapples
significance in shaping the visual landscape of art and with the intricate challenge of delineating the various roles
architecture. that decoration plays, as its application exhibits variability
across different contexts.
Among these factors, decorative motifs are categorized
into three distinct classifications based on their functional The term “decorative motifs” not only contributes to the
role, as identified by the research. The supportive role of aesthetic appeal but also adds allure to the main pictorial
decorative motifs involves their consistent use to delineate program. While visual strength is integral to the identity
events or moments within a series of paintings, aiding in of decorative motifs, they find application across various
conveying the narrative seamlessly without disrupting art forms, including figurative, narrative, ornamentation,
the main storyline. These motifs complement the overall and geometry. This study delves into the visual acuity of
artistic composition, adding value and intensity to the nature, aiming to identify the theoretical underpinnings of
design while attracting attention to the main theme. visual perception and its role in decoding the surface space
of Buddhist image houses.
The objective role of decorative motifs involves the
creation of aesthetically pleasing designs characterized Visual perception involves interpreting the environment
by impartiality and harmonious balance for visual by processing the visual information gathered by the
enjoyment. In the context of Buddhist image houses, these visual system. The extent to which visual perception relies
motifs are strategically integrated to enhance the temple’s on existing environmental information is a theoretical
visual appeal and functionality, contributing to rhythmic question. Many theories posit that visual perception is not
formations within the sacred space. This role is further a direct process but is influenced by the observer’s intent,
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emphasized when society attributes symbolic meanings prior knowledge, and stimulus information. Helmholtz’s
likelihood principle suggests that individuals draw
to these motifs, aligning their utilization with broader conclusions based on advanced perceptual information
cultural and religious significance.
derived from past experiences. As stimulus information
The subjective role of decorative motifs in Buddhist is often ambiguous, recipients need prior perceptual
image houses extends beyond visual interpretation to evoke experiences to interpret it. While views from Gregory and
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cultural and personal connections, profoundly shaping the Helmholtz oppose this notion, Leeuvenberg and Boselie
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recipient’s response. Recipients perceive these motifs as argue against the “likelihood criterion” concerning prior
symbols of joy, devotion, or embellishment, adding layers interpretations in visual perception. According to their
of cultural and subjective significance to their engagement research, the likelihood principal curve initiates with
with the sacred space. This role explores how decorative the interpretation of patterns, and the existence of these
motifs evoke specific feelings and associations, enriching interpretations should be explained first.
the viewer’s experience beyond mere visual aesthetics. The responses provided by participants within the

This study emphasizes the importance of sample cohort are delineated based on their discernment
comprehensively understanding the distinctiveness of of decorative motifs and their respective roles within the
Sri Lankan decorative motifs within the broader context application context. These responses are systematically
of contemporary design practices. Achieving an accurate classified into three distinct categories, each representing
comprehension of contemporary Sri Lankan designs varying perceptions of the placement and significance of
is crucial for discerning their place within the wider decorative motifs.

Volume 2 Issue 2 (2024) 4 doi: 10.36922/ac.2373