Page 114 - AC-3-3

Arts & Communication Cultural exchange and decorative motifs in 12 -century
th

by factors such as trade, religion, and power. While Angkor eight selected auspicious symbols are arranged in circular
has been extensively explored within the frameworks of mandalas. This mandala tradition often inspired decorative
archaeology and art history, the decorative motifs and motifs for structures such as chatras and ceilings, as
artistic characteristics of Sarnath and Polonnaruwa have evidenced in earlier periods at Sarnath (Figure 5).
received comparatively less attention in empirical research. However, such adaptations are less commonly observed in

Current literature on the subject fails to emphasize the the artistic traditions of Polonnaruwa and Angkor Wat.
importance of a contextual approach to analyzing decorative When these symbols are integrated into design, they
motifs across various cultural locations. A fuller discussion represent a change in natural forms, inextricably linked
of how the present study relates to prior scholarship – to the creative attributes of rebirth within the designer’s
highlighting differences or areas of scholarly disagreement culture.
– would enhance the ongoing academic conversation. Different buildings at these three sites are ornamented
A contextual comparison of these sites provides a with various decorative motifs that, when classified
framework for understanding how decorative motifs were into homogeneous or heterogeneous categories, enable
influenced by the complex interplay of cultural, political, comparative analysis. This process acts as a cross-section of
and economic variables. Further research could delve Asian cultural, religious, and artistic traditions, replete with
deeper into these relationships, examining how patterns symbolic meanings and continuing cultural narratives.
of cultural interaction and exchange impacted the artistic One notable design is the Thiringi Thalaya (Figure 6),
development of these key cultural centers. which features complex patterns with subtle similarities
The use of decorative motifs in strips transcended across sites. It is evident that the creator of this design was
geographical or regional boundaries, with their a master artisan, as the design integrates seamlessly with
applications identifiable across different eras. Artistic supporting elements such as Waka deka and Liyapatha.
practices in both Eastern and Western traditions reveal this Decorative motifs are also used in the creation of a
shared stylistic element. In Asian art, these bars or strips Thiringi Thalaya, recognized within the art industry as a
were often used to demarcate boundaries, with decorative testament to the rhythm of the lines that reflect the patience,
motifs placed between two lines creating a distinctive style. restraint, and skill of the designer. Its nature depends on
Regional cultural exchanges further contributed to the cultural backgrounds. In the context of Asian decorative
widespread use of “Auspicious Symbols of Lord Buddha” motifs, distinct regional differences are apparent. For
(Figure 4) across all three artistic styles. In the tradition instance, a more perfect round shape is characteristic of
of Asian Buddhist art, 216 auspicious symbols – marks Sri Lanka, whereas a slender oblong shape is prevalent in
believed to be found on the soles of Lord Buddha – are Southeast and East Asia. However, the scroll patterns found
recognized. These symbols hold sacred significance in in Angkor Wat and the Thiringi motifs share similarities in
Mahayana, Tantrayana, and Theravada Buddhism and are character and rhythm with the Thiringi Thalaya motifs of
also regarded as holy objects in certain Hindu traditions. Polonnaruwa and Sarnath (Figures 7 and 8). This harmony
They serve a dual purpose: filling gaps between motifs and and mutual awareness of traditions are clearly discernible
conveying overarching meanings. here, as the support and rhythm of the lines of the Thiringi
The placement and application of these symbols vary Thalaya (Figure 9) reflect the designer’s restraint and skill.
by tradition. For instance, in the Tantrayana tradition, This shared pattern is identified as the Palapeti pattern,
originating from the lotus petal. A variety of Palapeti
decorative motifs are recognized, particularly in Sri Lanka,
where they appear in different shapes. Several design
elements from Angkor, Sarnath, and Polonnaruwa – such
as floral, leaf, geometric, and abstract decorative motifs
(Figure 10) – have been analyzed and understood.

These motifs, employed in both real and mythological
contexts, often carry divine or pessimistic connotations.
Particularly, floral motifs have given a common symbolic
language across Asia, transcending geographical
boundaries through shared symbolic, cosmological,
religious, and aesthetic perspectives. This similarity is
Figure 4. Auspicious Symbols of Lord Buddha – marks traditionally
believed to be found on the soles of Lord Buddha. Image obtained from: prominently reflected in the decorative motifs of Angkor,
https://www.pinterest.com/pin/67624431897499300/. Sarnath, and Polonnaruwa.

Volume 3 Issue 3 (2025) 5 doi: 10.36922/ac.4205