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Arts & Communication Visual decoding: Buddhist image houses

into the motivations behind the utilization of decorative wall surfaces, observed across image houses of varying
motifs unveils insights into the deliberate decisions that sizes, reflects a customary thematic limitation. Designers
shape the spatial environment. This deep dive enriches our adopt a nuanced approach to Buddhist temple painting
understanding of the nuanced interplay between aesthetics traditions, prioritizing Buddhist literature within caves
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and functional significance within the context of Buddhist or conventional or Tampita image houses. This approach
architectural design. ensures the enduring allure of these intricate motifs while
safeguarding their esthetic appeal.
The research objectives aim to discern the role of
decorative motifs within the spatial context of temple 2. Methods
paintings, exploring the chronological transformations
observed in these motifs from 1753 – 1948 CE. The study This comprehensive study spanned 8 years and was
focuses on scrutinizing the strategic use of these motifs conducted in two stages. It involved the exploration of 194
in amalgamating the spiritual essence of Buddhism and cave temples and 188 Tampita image houses, with 112 temple
Buddhist literature, with a focus on their contribution image houses scattered across eight provinces in Sri Lanka.
to aesthetic engagement and the sustenance of devotees’ Engaging in field research and meticulously analyzing
devotion. Situated in the heart of the Indian Ocean, each Buddhist image house formed a crucial aspect of
Sri Lanka’s island status has profoundly influenced its our investigative approach. We conducted thorough
distinctive temple painting art. The Sri Lankan society documentation, utilizing both electronic and printable
and Art, reconstructed from the influences of the Silk formats, to record every decorative motif encountered
Road, epitomize a harmonious fusion of Eastern and during our study. Through these comprehensive efforts,
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Western esthetics, giving rise to a unique form of Sri we established and maintained an extensive database
Lankan craftsmanship. This phenomenon extends comprising diverse Buddhist image houses.
beyond its regional significance, serving as a valuable Our primary objective revolved around unraveling
research platform that offers fresh perspectives on the spatial organization and paintings found within the
Western and Eastern design practices within the broader 494 temples (Buddhist image houses) across Sri Lanka.
Asian context. This synthesis of artistic traditions Building upon a nuanced understanding of temple art from
invites scholars to explore the role of decorative motifs other Asian regions, our study seeks to contextualize and
in Sri Lankan temple paintings through a novel lens, validate its research findings within a broader theoretical
contributing to a nuanced understanding of the intricate framework in art history. It utilizes a broad theoretical
interplay between Eastern and Western artistic trends in approach to provide valuable insights for scholars and
Sri Lanka’s cultural tapestry. enthusiasts alike who seek to explore and analyze the
diverse decorative motifs of Sri Lanka. The graphical
Decorative motifs, beyond providing visual pleasure, representation of the sample distribution in Sri Lanka is
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are intrinsically entwined with sociocultural and political visually presented in Figure 1.
dimensions inherent in art. Scholars emphasize the
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multifaceted nature of art, acknowledging its role beyond In this research, sample selection involved selecting
esthetic values. Often viewed as communication tools, a total of 718 individuals from two distinct cohorts
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decorative motifs offer direct or metaphorical meanings associated with Buddhist statue houses. These individuals
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to observers, spanning categories such as symbolic, comprised both residents and visitors/worshippers at these
historical, esthetic, and metaphorical. This research locations. The two delineated groups encompassed: (i) the
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scrutinizes decorative motifs in diverse sections, exploring chief incumbent/custodian incumbent actively engaged in
geometric, botanical/scientific, and animal designs. It duties and residing within the Buddhist image house and
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delves into the contextual placement of these classifications (ii) two individuals selected at random from among those
within the overall surface space. Designers meticulously who frequently visit or worship at the Buddhist image
integrate decorative motifs into religious art, strategically house.
emphasizing sacred qualities and ensuring the prominence The sampling procedure involved the selection of
of selected symbols for their symbolic and aesthetic three individuals from each Buddhist image house. This
significance. This careful curation extends to the spatial process proved to be facile, as individuals frequenting
arrangement within existing image house structures. By these spaces demonstrated a high level of willingness to
examining paintings from approximately 538 Buddhist engage in discussions. Both the chief incumbent/custodian
image houses in Sri Lanka, this study encompasses incumbent residing within the temple and the visiting
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works renovated in the 18 century and redrawn in the individuals readily provided responses and willingly
18 and 19 centuries. The tradition of painting rock and participated in the research activities.
th
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Volume 2 Issue 2 (2024) 2 doi: 10.36922/ac.2373