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Arts & Communication Visual decoding: Buddhist image houses

of strategically employed motifs, playing a pivotal role This role is frequently observed in temple paintings,
in managing the image house surface and establishing where decorative motif classifications come together in
connections between statues and background paintings traditional artistic practices.
(Figure 5). Serving to delineate the boundaries of the main
painting theme, these border designs, including Palapethi, 6.3. Subjective role of decorative motifs
Welpota, Bopath, Nagala Pathura, Bopath Pathura, Ginidel, Within the realm of decorative motifs in Buddhist
and Gal Binduwa, significantly contribute to spatial image houses, a deeper layer of significance emerges,
management and enhance the recipient’s visual perception. transcending the mere visual interpretation of shapes
These decorative motifs act to demonstrate the delicate and images. This subjective role delves into cultural and
balance achieved through their purposeful integration. personal connections, profoundly shaping the recipient’s
response to the sacred space.
Diverse interpretations arise when observing
decorative motifs such as Nelum, Binara, Wetakae,
Ehela, and Beraliya, which depict indigenous flora near
arahant images. Recipients may perceive these motifs
as symbols of joy, devotion, or embellishment, among
other connotations. Importantly, viewers discern both the
distinctions and connections between these decorative
motifs and the overarching narrative presented in the main
pictorial depiction. This nuanced understanding adds
layers of cultural and subjective significance to the viewer’s
engagement with the sacred space. Within Buddhist image
houses, the subjective role of decorative motifs transcends
mere visual esthetics, delving into cultural and personal
associations that profoundly influence the viewer’s
response. This perspective explores how decorative motifs
evoke specific feelings, essentially becoming distinct
characters within the narrative.

Figure 4. The motifs adeptly navigate surface shapes and residual spaces Within the main story theme, various decorative motifs
left by the main wall paintings, transcending the paintings in color, shape, are employed, including characters drawn by artists and
and size. Note: Descriptions for the highlighted images can be referred other appropriate designs. For instance, in the depiction
to in Table 1. Location: Yakgirilena, North Western Province, Sri Lanka. of elephants in the Vessantara Jataka, each artist endeavors
Photo credit: K.H.J. Manaram.
to convey the act of giving. When the artist utilizes the
elephant image as a character in the narrative, the viewer
recognizes it as a subjective role, separating it from the
overall composition.
Another example involves the portrayal of Buddha
crossing the river Neranjana, where fish figures are used
to indicate the water’s flow. In this depiction, the viewer
identifies the presence of water and fish, with the fish
symbolizing Matsya, an incarnation of Lord Vishnu in
10 characters. Similarly, the inclusion of “conceptual
flowers,” such as the Kadupul, prompts viewers to
perceive their conceptual and utilitarian aspects through
visual observation. The Kadupul flower, which blooms
exclusively in heaven, was employed by the artist to convey
Figure 5. Border designs (wati mosthara) serve as strategic elements in the heavenly nature of the depicted building. Different
the management of image house surfaces and in establishing connections viewers may interpret these motifs based on their roles
between statues and background paintings. Note: Descriptions for the
highlighted images can be referred to in Table 1. Location: Gallengolla, and individual visual perceptions. Likewise, diverse
Sabaragamuwa Province, Sri Lanka. Photo credit: K.H.J. Manaram. interpretations arise with motifs like the bitter flower vine,
depicting flora near god images (4n) (Figure 6). Viewers

Volume 2 Issue 2 (2024) 9 doi: 10.36922/ac.2373