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Arts & Communication                                                Visual decoding: Buddhist image houses



                                                               aligns with this form. Notably, decorative motifs employed
                                                               in  similar spatial  organizations  for similar  purposes
                                                               exhibit distinct characteristics. Standard decorative motifs,
                                                               universally applicable to all such structures, remain absent.
                                                               The viewer’s visual communication, grounded in recognizing
                                                               the utility of an image house, is influenced by the original
                                                               structure’s construction, emphasizing that decorative motifs
                                                               serve as an artist’s approach rather than the sole driver of the
                                                               recipient’s interpretative engagement with the space.
                                                                 Despite  the  influence  of  culture,  environmental
                                                               awareness, and the utilitarian purpose of structure
                                                               construction on decorative motifs, these motifs effectively
            Figure  6. Subjective significance: Diverse interpretations arise when   carve out unique identities for respective temples and the
            observing decorative motifs like the bitter flower vine (4n). Note:
            Descriptions for the highlighted images can be referred to in  Table 1.   main painting spaces. In essence, the visual perception
            Location: Selawa, Sabaragamuwa Province, Sri Lanka. Photo credit K.H.J.   engendered through decorative motifs retains a collective
            Manaram.                                           nature, with the motives for their creation maintaining
                                                               consistency across diverse image houses.
            may see this motif as characters of embellishments or flower   Acknowledgments
            screens. Importantly, viewers discern both distinctions
            and connections between these decorative motifs and the   I extend my sincere gratitude to Prof. Asoka de Zoysa, the
            overarching narrative, thereby enriching their cultural and   coordinator of the HETC and AHEAD projects, for his
            subjective engagement with the sacred space.       invaluable guidance. Your leadership and support have
                                                               been instrumental in shaping and guiding this endeavor.
            7. Conclusion                                      Thank you for your unwavering commitment to excellence
            In concluding our exploration, we delve into the likelihood   and your significant contributions to this project.
            principle, acknowledging Mead’s conceptualization  of   Funding
                                                      12
            object roles and the reflexive nature of the self. Helmholtz
            proposes a twofold basis for the imposition of visual   I would like to express my gratitude for the funding
            perception: “common sense” and the absence of structure in   provided by the HETC (2012 – 2015) and AHEAD (2019
            a uniformly random form. This study applies these principles   – 2023) projects, both of which are World Bank-funded
            to analyze decorative motifs in Buddhist image houses,   initiatives. The University of Kelaniya in Sri Lanka has been
            revealing the following insights: (i) influence on self-thought:   a vital partner in supporting this endeavor. Project financial
            the space crafted by decorative motifs significantly influences   support for research has played a crucial role in the successful
            the viewer’s self-thought. Through the delineation of three   execution and accomplishment of our project goals.
            distinct roles, these motifs shape the recipient’s “common
            sense” perception of them and (ii) impact on expression:   Conflict of interest
            the decorative motifs and colors within the religiously   The author declares that she has no competing interests.
            repurposed space of a Buddhist image house influence the
            viewer’s expression. The viewer’s understanding of non-  Author contributions
            random decorative motifs stems from personal experiences,   This is a single-authored article.
            adding a layer of intimate knowledge gained over a lifetime.
              This analysis addresses two perspectives on decorative   Ethics approval and consent to participate
            motifs  in  Buddhist  image  houses.  First,  their  role  in   Not applicable.
            recreating the space of an inanimate object, and second,
            the creation of symbolic meanings not directly linked to   Consent for publication
            the recipient’s past experiences. These symbolic meanings   Not applicable.
            foster personal internal dialogs that shape the recipient’s
            visual communication through their perceptual lens.  Availability of data

              While the construction of Buddhist image houses is   The supporting data can be obtained from: website: www.
            rooted in religious socialization, their spatial development   gangarajinee.com


            Volume 2 Issue 2 (2024)                         10                               doi: 10.36922/ac.2373
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