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

A B and lines. Although it is possible to recognize the depicted
lotus flower (Figure 13) by presenting the geometric
rhythmic features in the natural lotus flower in different
ways, the fullness of each flower, the Karanika, and the use
of straight lines, dots, curves, and drops should be taken into
account. Sri Lanka demonstrates a complexity in the use of
lotus flower designs. Designers and artisans employ unique
design practices, showcasing their skill in adapting these
motifs across all mediums. Similar creative characteristics
are shown in all three places – Sarnath, Polonnaruwa, and
Angkor Wat – when applying the lotus flower motif. More
specifically, further studies are needed to understand how
each location integrates the lotus flower into their designs.
Besides mere motif introduction, there is the application
of geometric rhythmic features and lines. Among the
Figure 9. Polonnaruwa (A) and Angkor Wat (B) use similar designs geometric motifs utilized in border markings, the “stone
incorporating Thirigi Thala patterns and other motifs. Images used with point” – a simple yet effective motif combining a circle
permission from Jeewana Manaram Kodagoda.
and a square – is particularly noteworthy. Observations
A from Polonnaruwa, Sarnath, and Angkor Wat suggest
that this design was commonly used to separate columns,
effectively demarcating boundaries and completing the
finish. The ingenuity, however, lies in the stonework, which
incorporates various motifs within the circle and square.
These designs do not require explicit interpretation, as
designers typically rely on the pre-existing understanding
of surfaces and their creative articulation. Consequently,
B
the study of these designs must diverge into two fields:
One exploring the symbolic meaning of the designs and
the other examining their creative nuances. For example,
the cow motif at Polonnaruwa may be better understood
as representing Hindu–Buddhist influences from Sarnath
7
and Cambodia rather than being dismissed solely for its
religious connotations. This interpretation aligns with the
strong religious–political bonds within Polonnaruwa.
The Beraliya flower design is considered a flawless
C design (Figure 14), achieved through the use of straight
lines in the Border design. Its application in Sri Lanka
and Sarnath exhibits strikingly similar lines, with their
resemblance being astonishing.
The contextual placement of these designs plays
an important role in their interpretation, as the
positioning significantly affects their perceived meaning.
Understanding these similarities in design requires
Figure 10. Sarnath (A), Polonnaruwa (B), and Angkor Wat (C) all feature
similar Palapeti flower designs. Images used with permission from comprehensive knowledge of the teachings of the design
Jeewana Manaram Koodagoda. schools. 11
architectural elements. Further study is needed to delve 4. Historical and cultural context
deeper into the application of the vine design (Figure 12) In the Great Parinirvana Sutra, the Lord Buddha
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across these three places. mentions four places that a Buddhist should see and
Beyond the introduction of a motif, consideration practice shraddha after his passing: his birthplace, the
should be given to the use of geometric rhythmic features site of enlightenment, the location of his Parinirvana,

Volume 3 Issue 3 (2025) 7 doi: 10.36922/ac.4205