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Arts & Communication Visual decoding: Buddhist image houses

perceive a given design as fulfilling two distinct roles: viewers in correctly identifying motifs occupying these
objective and supportive. While each design serves auxiliary roles. Furthermore, instances wherein the same
a deliberate purpose within its designated role, the motif assumes a supportive and objective role within the
identification of a design in the supportive role is same Buddhist image house, as depicted by the painter,
primarily determined by the inherent characteristics of Sri demonstrate viewers’ cognitive adeptness in distinguishing
Lankan decorative arts. Coomaraswamy elucidates this between roles without conflating their significance.
5
phenomenon as a process of “combination of element” Another illustrative example involves the application
that finds particular relevance in instances where designs of “Nari Devi,” belonging to the conceptual category,
function in a supporting capacity.
within the Buddhist image house of the design. In this
The application of designs, whether individually or in instance, the motif serves a dual role within the statue
a cohesive arrangement, within supporting roles, such as house, functioning both esthetically and functionally.
continuity, flower designs, blessings, auspicious signs, or It adorns the door surface in an objective role, fulfilling
good omen symbols, serves to integrate them seamlessly specific decorative purposes, while in the canopy, it serves
into the visual composition, contributing to its overall a supportive role.
harmony and balance. Designs fulfilling supporting roles are
characterized by nomenclature that reflects their intrinsic 6.1. Supportive role of decorative motifs
design elements rather than their association with the main The supportive role of decorative motifs has been
artistic theme or image frame in which they are situated. consistently recognized by this research, particularly during
This distinction assumes heightened significance in the the 1753 – 1948 CE era, where they effectively delineated
paintings of the Kandyan period (17 and 18 centuries), events or moments within a series of paintings. In the art
th
th
characterized by a continuous narrative structure where of continuous speech, these decorative motifs assisted in
the use of motifs aids in maintaining narrative continuity conveying the story seamlessly without disrupting its flow.
and delineating story segments (Figure 2). Notably, viewers Viewers adept at visual perception understand that these
adeptly navigate this narrative framework, aided by motifs motifs, when used appropriately, do not interfere with the
fulfilling supportive roles, thereby facilitating the seamless main narrative.
transition between story elements without disrupting the
thematic coherence. In addition to their role in representation and filling vacant
spaces, decorative motifs play a significant and dynamic role
Illustratively, motifs depicting trees laden with in the overall artistic composition. They exemplify the power
flowers and fruits, as well as variously shaped lotuses, of decorative motifs, adding value to the designs employed
commonly feature in both objective and auxiliary roles. and formally integrating with the main theme to augment
An overwhelming 99% accuracy rate was observed among its intensity and motivate the overall frame composition.
Such decorative motifs not only attract attention to the main
theme but also contribute to the popularity of the series of
paintings. Viewers perceive them as a supportive element,
although the meaning may change when the same design is
applied to other locations, such as the canopy. An excellent
example of this can be seen in the paintings at Nagolla (North
Western Province, Sri Lanka), where decorative motifs are
employed to distinguish various themes, including Suvisi
Vivarana, Solosmassthana/Atamasthana, images of trees,
Buddha images, Devaradhanaya, Sathsathiya, and images of
deities. In Suvisi Vivarana, for instance, a bunch of flowers
with leaves serves to separate different commentaries within
the painting (Figure 3).
Similarly, a fruit-bearing banana tree is strategically
placed at the end of each column to establish a visual
Figure 2. Continuous narrative structure depicted on the front wall connection to the succeeding column. Despite the viewer’s
of Degaldoruwa Raja Maha Viharaya, illustrating the Wessanthara recognition that these elements are not integral to the main
Jathakaya’s. The arrows indicate the presence of decorative motifs serving
various roles: 1 and 2 denote supportive roles, 3 represents a subjective theme, they do not disrupt the overall reading experience.
role, 4 signifies objective roles, and 5 represents subjective roles. Location: In addition, the lotus flower is utilized in various patterns
Kandy, Central Province. Photo credit: K.H.J. Manaram. for creating visual separations.

Volume 2 Issue 2 (2024) 7 doi: 10.36922/ac.2373