LE>/doH/52/o3 
The Creation and Experiencing of Painting and Architecture: 
An Examination of Parallelism 
[JoTuSJSITV
 u . iv,'oRATUVJA, { 
M O R A T U W A 
A dissertation presented to the faculty of Architecture of the 
University of Moratuwa Sri Lanka for the Final Examination 
M.Sc (Architecture) 2002 
7S.o\\: 7 5 <• 
V. Danachandra Wijayanayaka 
Faculty of Architecture 
University of Moratuwa - n o i q o 
Sri Lanka „, ,
 f M ' 
University of Moratuwa 
2002 iiiiiiiimiiiiiiiiiiiiiiiiii.i 
78193 
78193 
Acknowledgement 
The idea of this dissertation was come to my mind with an assignment done in the first 
year of M. Sc. (Architecture), i.e. findings the similar schools of thoughts in architecture 
to the schools of thought of Amaradewa in music. Therefore I am offering my sincere 
gratitude to Mr. Vidura Sri Nammuni the year master of the M.Sc first year for helping 
me to select a topic and guiding me at the stage of synopsis. 
I am especially grateful to Mr. Ravin Gunarathne, who guided, encourage and corrected 
me and for his extraordinary kindness of helping me to find some valuable data facts 
and books that very rare in libraries. 
My gratitude also to Miss. Srinika Senasinghe and Mr. Mohan Wijerathne for correcting 
the process and final draft and also helping me to find some data. And also Mr. Suchith 
Mohotti and Mr. Vinod Jayasinghe for giving data and letting to use computer facilities 
which were most valuable to the completions of the dissertation. 
I am not forgetting the help of P. D. N. Roshini one of my friend and Mr. V. C. 
Wijayanayaka my father and Binduka my brother, for helping me to find necessary 
books and get interviews and collect data from painters and other artist as well. 
Last, and most important, I owe my profoundest thank to my most sincere friend, Miss 
Savithri Sugathapala who being with be through out the progress and encourages me 
and help me to find data from libraries. 
i 
Content 
Acknowledgements 
Content 
List of Illustrations 
Abstract 
Introduction 
Observations 
Criticality for the Field of Architecture 
Causes for Above Situation 
Remedies to Solve the Above Problems 
Intension of Study 
Scope of Study 
Method of Study 
Chapter One: 
Philosophy of Art 
1.1 An Approach to Philosophy from Life 
1.1.1 Attitude of Life 
1.1.2 Philosophy of Life 
a. Nature 
b. Myth 
c. Religion 
1.2 Aesthetic' the Kerb of the Universe 
1.2.1 Aesthetic of Nature 
1.2.2 Aesthetic of Life 
1.3 "Universe" the Spirit of Life 
1.3.1 Universal Truth of Philosophy of Life 
1.3.2 Universal Meaning Emerged in Art 
1.3.3 Difference of Art and Science 
1.3.4 Philosophy of Art 
1.4 Definition of Art 
1.4.1 Classification of Art 
1.4.2 Painting as Art 
1.4.3 Architecture as Art 
1.4.4 Unity and Variation of Visual Art 
1.5 Parallelism of Painting and Architecture 
Chapter Two 25 
Parallelism of Act of Creation 
2.1 Difference Between Design and Creation 26 
2.1.1 What is Design 27 
2.1.2 What is Creation 28 
2.2 Sensation of Inner Life 29 
2.2.1 Taste and Distaste of Sensation 30 
2.2.2 Silhouette of the Image 30 
2.3 Imagination and Day Dreaming 31 
2.3.1 Illusion 31 
a. Values of Illusion 32 
B. The Dynamics of Illusion 32 
2.3.2 Emotions 32 
2.3.3 Process of Creation 34 
2.3.4 Form of the Content 34 
2.3.5 Constituent of Imagination 34 
2.3.6 Dreaming with Thematic Variation 35 
2.3.7 Final Image with Heavenly Beam of Light 36 
2.4 Use of the Language as Media of Expression 36 
2.4.1 Symbols as Words of Expression 37 
2.4.2 Art and Craft 37 
2.5 Poetic Language in Painting and Architecture 38 
2.5.1 Poetic of Tension and Fluidity 38 
a. Rhythm of Line 39 
b. Hard and Soft 40 
c. Solid and Cavities 41 
d. Light and Dark (Shade) 42 
e. Contrasting Effect of Colours 43 
2.5.2 Grammatical analysis in Poetic of Language 44 
a. Scale and Proportions of the Symbols 44 
b. Composition of Symbols 45 
c. Repetitions of a Symbol or Symbols 46 
d. Harmony in Geometrical Shapes 46 
2.6 Unification of Multiplication of Symbols 47 
in 
Chapter Three 
Parallelism of Dialogue of Understanding 
50 
3.1 Artists and Apprehender 51 
3.1.1 Apprehender as an Understander 52 
3.1.2 Apprehender as a Collaborator 52 
3.2 Complexity of Speech of Artefact 53 
3.3 Visible Speech by Inside and Inside 53 
3.3.1 Contrast or Counter Point 54 
3.3.2 Visual Contrast 54 
3.3.3 Mental Contrast 55 
a. Texture of Materials 55 
b. Nature of the Canvas or Site 56 
c Pigment of Meaning 56 
3.4 Visible and Invisible Speech of Inside and Outside 57 
3.5 Understanding from Outside and Inside 59 
3.6 Divinity from Earth to Heaven 60 
Conclusion 63 
Appendix 66 
Appendix I 67 
Appendix II 68 
Appendix III 69 
Appendis IV 71 
Appendix V 73 
Bibliography 77 
iv 
List of Illustrations 
No Paae 
01 Artist draws some thing he sees or feels in his life 10 
02 Nature; let us to see where we have come from 
and make solitude in the Universe 11 
03. A mystic Painting 12 
04. Mystic space of Castlerigg stone circle in the Keswick 12 
05. Aesthetic of Nature, the primary inspiration to philosophy 13 
06. Classification of feelings of art 20 
07. Illusion of the stair well of Tea Factory hotel. Attracts visitors towards it. 31 
08. Illusion of a painting, attracts spectators eye in to the painting 31 
09. A painting emerging srungara rasa By Jorge Keit 33 
10. Restaurant of tea factory hotel emerging srungara rasa by 
Archit: Bodinayaka 33 
11. Entering tunnel of Subodi, emerging 
mixture of Santha and Adbhuta Rasa, by Archit: Jeffry Bawa 33 
12. Restaurant of Subodi, emerging Santha and Hasys (Pleasure) emotions 33 
13. Schematic Drawing showing the changes revealed 35 
by the composite X-radiograph. 35 
14. A bar at the Folies - Bergere, By Edouard Manet, 1881, Oil on Canvas 35 
15. Sketch of Cultural Centre, Movxia, New California 35 
16. Fig. 16: Completed Building not completely change, nor the sketch 35 
17. Poetic Rhythm of Visual Language, A photograph by Rohana Wijethunga 38 
18. Illustration about the floating of the eye along a photograph 38 
19. The emotions are changing with rhythm of the line 39 
20. Emotions change with arrangement of different spaces, plan of Subodi 39 
21. Buddhism, by Vaidya, Batsa Gopal (Nepal) 1980 40 
22. Ruwanwli Saya, Anuradhapura 40 
23. Ambalama at Hanwella Farm, by Jeffry Bawa 40 
24. A painting by Hsu Yun, Japan,2001 41 
25. Solid and Void in Elevation, Tangalle Bay Hotel 41 
26. Solid and Void in Spaces Tanglle Bay Hotel 41 
27. Light and shade in nature emerging emotions of evening pleasure 42 
28. Light and Shade in painting emerge movement of dancing emotions 42 
29. Light and Shade in Chapel arises divine emotions 42 
30. A day on the hill by Itozono Wasaburo, Japan, 1979 43 
31. Archit. S . Mohotti's house, at Borallesgamuwa 43 
32. Fig.32 Mother and Child by H.A Karunarathne 43 
33. Sri Lanka Institute of Information Technology at Malabe. 43 
34. Siddhartha, Mahinda Abeysekera 44 
35. Galle Fort, make frighten feeling with it immense scale 45 
36. Fasting Buddha By Shahid Kabir, Bangladesh 45 
37. Bogoda Bridge 45 
38. Pink Leopard, by Senaka Senanayaka 1979 45 
39. Composition of Spaces in a House, By Anjalendran 45 
40. Free Waves by Poon Anthony, Singapore 46 
41. Repition of Shadows in Light house hotel, Galle 46 
42. Repition of spaces in the atrium of Kandalama hotel 46 
v 
43. Modulation by Lin Hsin Hsin , Singapore 46 
44. Temple of Tooth Relic at Kandy, Composition of Geomatrical shapes 47 
45. Unification of multiple symbols to create a single painting of Jesus. 47 
46. Unified Christ painting 48 
47. Entering tunnel of Kandalama hotel 48 
48. Main Lobby of Kandalama Hotel 48 
49. Unifying Multiple spaces creates Architecture 48 
50. Photograph by H. R. N. Gunerathne 54 
51. Lighting effect in the tunnel of Subodi makes counter point to the point 54 
52. Painting by Dave Shanti (India) 55 
53. Carven in Lighthouse hotel, chnge the direction of vision of spectator 55 
54. Painting by Tilak Abesinghe; emerging emotions by tilting symbols 56 
55. Painting by Tilak Abesinghe; emerging emotions by tilting symbols 56 
56. National Youth Centre, Maharagama, 56 
57. Baul, by Quamrul Hassan (Bangladesh) 57 
58. A view of the dome of Lighthouse hotel 57 
59. Another view of the dome of Lighthouse hotel 57 
60. Fig. 60:lllustratin of Christian Religious painting 
showing inside and outside 58 
61. Christian Religious painting of inside and outside 58 
62. Pokunuvita Chapel, symbolizing inside and outside 
of the religion in the space and elevation 58 
63. Village Life, by Jayasiri Samage 59 
64. Lobby of Triton Hotel, Ahungalle 60 
-4 - vi 
Abstract: 
The artistic expressions are not direct and always doing in 
concealed manner. In direct expression there is no 
aesthetics, and it becomes a report. The responsibility of 
art is emerging emotions, and those emotions with 
concealed meaning direct the imaginations of 
apprehender to universal meanings with intellectual 
thinking 
Architecture as an art, expression of it also must be in a 
concealed manner with emerging emotions and universal 
truth. But architecture is a functional art the way of doing is 
not different as it is emerge the emotions that suits for the 
functions of the art. 
The way of emerging "Rasa" or emotions unique to every 
arts and it is happening with the problems in the 
surroundings of the artist and contradictions of the forces 
of them. Therefore every problem is related to aesthetic 
representation in the view of philosophical basis. That 
representation of philosophy and the inner meaning is a 
dialogue between "motif" and "symbols" of art. 
The aesthetic of floating beauty or the sequence of 
emotions can be seen in a poetic manner word after word 
i.e. symbol after symbol. The poetic of the tensions of the 
language or the symbols brings the spectator to the more 
and more deeper meanings than what he sees on the 
surface. At the deepest level he will explore through the 
universe and touch the divinity of heaven. 
That divine originals can be applied into the architecture as 
studying the process of emerging emotions from other arts