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Arts & Communication Visual decoding: Buddhist image houses

However, addressing this challenging question has been
postponed, with reasons lacking conviction. This study
instead focuses on the period from 1753 to 1948 CE.
It is an incontrovertible reality that traditional decorative
motifs have played a pivotal role in augmenting the esthetic
appeal of thematic painting spaces. The employment of
pictorial themes within Buddhist image houses exhibits
shared similarities across diverse Asian regions. Despite the
pictorial evidence in Buddhist paintings across centuries,
influenced by the economic, social, and religious contexts
as well as the patronage kingdoms in various Asian regions,
the overarching narrative of Buddhist paintings across
Asia encapsulates events and themes reflective of each
culture. Rooted in the interrelations and structural fabric
of Sri Lankan society, these motifs have evolved while
authentically embodying their expressive essence. They
inspire viewers and invigorate the devotion of devotees,
possessing an intrinsic identity.
The genesis of decorative motifs can be traced back
to the human inclination to observe and interpret their
surroundings through lines and shapes. Although the
original designs persist, they continue to evolve, giving
rise to diverse forms of decorative motifs. The academic
nature of decorative motifs is intricately intertwined
with architectural structure, sociocultural context, and
Figure 1. The graphical representation of the sample historical traditions. Through both two- and three-
distribution in Sri Lanka. Source: Image created with Photoshop. dimensional aspects of decorative motifs, one can discern
Abbreviations: CIH: Cave image house; IH: Image house; TIH: Tampita the logical and ideological transformations that transpired
image house (Temple on pillars). during those epochs.
From 1753 to 1948, decorative motifs underwent
The research methodology extended to the examination systematic changes in visibility, primarily influenced by
of decorative motifs across all five classifications. Three shifts in social structures and sponsorship types. However,
selected decorative motifs were presented to each these changes did not alter the primary shape and utility
participant, accompanied by two open-ended questions of the motifs. Notably, transformations occurred, such as
and two closed-ended questions aimed at eliciting their the evolution from two- to three-dimensional expressions.
perceived meanings. Approximately 60% of the overall Despite these dynamic shifts, it is essential to recognize
sample exhibited cognitive understanding regarding that the essence and utility of the decorative motifs
the classification of these decorative motifs and their remained consistent over the period, indicating a nuanced
significance. For participants lacking basic awareness balance between evolution and continuity in their artistic
or knowledge regarding decorative motifs and their expressions.
classification, comprehensive explanations were provided.
It is noteworthy that all Buddhist image houses depicted in 4. The criteria for decorative motifs
Figure 1 were represented within this sample. The exploration of decorative motifs has remained a pivotal
3. Limitations focus in the realm of art history, offering profound insights
into human aspirations and creative expressions across
The challenge of insufficient historical evidence hinders a different epochs. However, the ambiguity surrounding the
chronological study of the evolution of decorative motifs definition of “decorative motifs” and the interchangeable
in kingdoms such as Anuradhapura, Polonnaruwa, usage of terms such as “decoration” and “motifs” have
Dambadeniya, and Kurunegala up to the 18 century. presented significant challenges in grasping the essence
th
Further research is crucial, particularly considering the of decorative elements in art. To address this issue, this
limited samples available from 307 BCE to 1753 CE. research emphasizes the importance of establishing clear

Volume 2 Issue 2 (2024) 3 doi: 10.36922/ac.2373