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Arts & Communication Visual decoding: Buddhist image houses

Within the spectrum of visual perception, this study Sri Lankan decorative motifs are typically classified
categorizes the role of decorative motifs in the Buddhist based on their origin, with four main classifications
image houses into three parts based on the visual currently in use. However, this classification does not
perception of the delineated groups: (i) Supportive role, (ii) consider the application location or the role of the motif.
objective role, and (iii) subjective role. This research posits While Coomaraswamy categorized Sinhala decorative
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that decorative motifs, as they unfold on the surface of the motifs into four groups, contemporary Sri Lankan art
Buddhist image house, serve three distinct roles based on historians have introduced the term “conceptual” as a fifth
the visual perception of the receivers. category (Table 1), representing imaginary creations like
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In every Buddhist image house, the internal spatial animals and trees not found in the living world.
arrangement, determining the placement sequence of A decorative motif acquires symbolic significance based
paintings, decorative motifs, and other images, revolves on the designated role within the design it inhabits, often
around a Buddha statue (reclining/sitting/standing). categorizing motifs with symbolic meaning as subjective
Approximately 99% of cave temples incorporate reclining designs. The symbolic connotations of decorative motifs
Buddha statues, while Tampita image houses and other vary across societies, exemplified by motifs representing
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Buddhist image houses are predominantly centered the sun, moon, fertility through trees with fruit, and animal
around sitting Buddha statues. Standing Buddha statues motifs such as peacocks, parrots, and elephants, each
are infrequently observed in image houses. carrying distinct symbolic meanings in different societies.
Upon establishing the positioning of the main Buddha When employed as decorative motifs in Buddhist
statue within the image house, the construction of literature, Magul Lakunu (marks believed to be found
additional images ensues, utilizing both the surface space on Lord Buddha’s soles) assumes symbolic significance.
and empty areas for paintings. The embellishment of the Notably, symbols such as the peacock, cobra, Punkalasa,
surface of Buddhist image houses incorporates themes and Swastika are discernible. These conceptual and
such as Jathaka stories, Suvisi Vivarana, Buddha images, inanimate decorative motifs collectively embody all three
and Rahath images. roles within the realm of Buddhist temple paintings.
Recipients engage in the interpretation of the surfaces In instances where a motif holds symbolic meaning, the
of the Buddhist image houses primarily through the research designates it as an objective role representation.
identified paintings above. The paintings within the image However, the recognition of animal figures in supporting
house serve the purpose of depicting decorative motifs, roles is a prevalent feature. The viewer discerns the role
guiding recipients toward wisdom. While there is no attributed to a decorative motif based on the designer’s
definite order in the arrangement of the main pictorial placement within the design. When an animal motif aligns
program in each chamber, a discernible pattern can be with the main story theme, it is seamlessly integrated,
observed. The continued utilization of decorative motifs losing its identity as a decorative motif. Such instances
in temple paintings across different eras implies their are identified as subjective role applications. Decorative
significance, as their elimination or minimization would motifs within a main storyline, like the depiction of
have been plausible with evolving artistic traditions. This a rabbit in Sasa Jataka, are considered subjective role
research identifies composition as the role of design, applications. In canopy/ceiling paintings, the supportive
emphasizing that its effectiveness influences the intensity role of rabbit images is in pairs or rows. Rabbit symbolizes
of visual perception. The critical analysis of the examined gentleness and speed, aligning with Hindu mythology, and
paintings is shaped by prompting the recipient to gauge the also portraying an objective role in the overall building
composition’s intensity through their perception. surface.
6. Discussion Floral designs, when utilized in temple paintings, offer
another example. The depiction of trees and flowering
While a designer possesses the flexibility to apply any plants in narratives, such as the Vessantara Jataka, signifies
decorative motif in diverse locations, the role of the same specific locations, such as the king’s palace and jungle. The
decorative motif is communicated to the viewer through viewer identifies the type of tree by the blooming flowers
its application. In this context, decorative motifs serve a and distinctive leaves. The research underscores that the
narrative function. A viewer, comprehending the main three roles – subjective, objective, and supporting – apply
pictorial program’s theme, interprets and understands specifically to animal and floral motifs (fauna), illustrating
the employed designs based on the role played by the a nuanced distinction in the treatment of these motifs
decorative motif within the narrative of that theme. compared to others within decorative art.

Volume 2 Issue 2 (2024) 5 doi: 10.36922/ac.2373