Page 122 - AC-3-3

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

the 12 centuries, state-controlled trade was the norm, the religious, political, and spiritual exchanges among
th
but the 12 century marked a shift toward the pursuit of these regions. These shared design elements reveal how
th
maritime commerce, the assertion of naval power, and the the inhabitants of these three regions perceived their
maintenance of diplomatic ties as essential components environments and how such perceptions informed their
of statecraft. The diffusion of luxury goods and artistic artistic practices. Furthermore, the sociopolitical dynamics
materials across vast regions facilitated the spread of of the 12 century in these regions significantly shaped
th
geometric patterns, including those of Islamic art, from human activities and artistic expressions, as evidenced by
South Asia and the Middle East to East and Southeast Asia. the consistent decorative motifs that link their cultural and
The artistic parallels between Sarnath and Angkor aesthetic traditions.
Wat, with Polonnaruwa serving as an evolutionary Acknowledgments
intermediary, highlight the interconnected nature of
these cultural centers. Despite the significant erosion I extend my sincere gratitude to Prof. Asoka de Zoysa,
of Polonnaruwa’s stylistic legacy due to invasions and the Coordinator of HETC and AHEAD projects, for his
environmental factors, the site’s carvings exhibit an invaluable guidance. Your leadership and support have
advanced synthesis of the artistic traditions of Angkor been instrumental in shaping and guiding this endeavor.
and Sarnath. The decorative motifs of these sites, rooted in Thank you for your unwavering commitment to excellence
Buddhist and Hindu religious foundations, display shared and your significant contributions to this project.
artistic characteristics, particularly in floral and geometric
patterns. The technical skill, discipline, and rhythmic Funding
quality evident in these motifs reflect a sophisticated and None.
interconnected artistic tradition.
Conflict of interest
Floral motifs in Buddhist art across these regions
exhibit consistent symmetries and rhythmic arrangements, The author declares no conflicts of interest.
while geometric motifs reveal a deep connection to
tantric traditions through the use of lines in “yantras” and Author contributions
“mantras.” These similarities likely stem from the exchange This is a single-authored article.
of designers, cross-regional training, and the sharing of
tools and techniques. Such collaboration produced design Ethics approval and consent to participate
elements of comparable scale and rhythmic harmony,
underscoring the intricate web of cultural exchange Not applicable.
and artistic innovation that flourished between these Consent for publication
civilizations.
Not applicable.
5. Conclusion
Availability of data
The homogeneity of decorative motifs can be examined
by analyzing their structural characteristics, including the Data used in this work are available from the corresponding
nature of their lines, their nomenclature, and the cultural author upon reasonable request.
symbolism they embody. Patterns are understood as
manifestations of humanity’s efforts to replicate the colors References
and forms encountered in their natural environment 1. Crill R. Indian Ikat Textiles. British Museum: British
throughout evolution. Their identities are shaped by the Museum Press; 1999. p. 42-63.
cultural frameworks of the individuals who create them. 2. Trilling J. The Language of Ornament (World of Art).
Thus, the homogeneity of decorative motifs reflects how United Kingdom: Thames and Hudson; 2001. p. 90-120.
individuals interpret their surroundings based on personal
experiences and how these environments, in turn, influence 3. Mitra D. Sarnath: Archaeological Survey of India. Delhi:
their artistic expression. Government of India Press; 1971.
4. Bandaranayake S. The Art and Architecture of Ancient Sri
Therefore, the study of decorative motifs emerges as a Lanka. Colombo: Central Cultural Fund; 1993. p. 45-67.
fundamental approach to understanding human culture
and the interconnections between societies. This research 5. Huntington SL. The Art of Ancient India: Buddhist, Hindu,
highlights the homogeneity of decorative motifs observed Jain. Raleigh, NC: Weatherhill; 1985. p. 112-145.
in Sarnath, Polonnaruwa, and Cambodia as a product of 6. Mabbett I, Chandler D. The Khmers. United Kingdom:

Volume 3 Issue 3 (2025) 13 doi: 10.36922/ac.4205