Traditional Sri Lankan Motifs: A Basic Guide to Drawing the Liyawela, Lotus, and Animal Motifs

In temple murals, wood carvings, traditional brassware, textiles, and school art design exercises, several classical motifs appear repeatedly. While many people recognize these patterns, understanding how to lay down their basic shapes and rhythms step by step provides a helpful foundation for any traditional design.

For students and beginners looking to incorporate classical motifs into a book cover, a sari border, an ornamental vase, or a plaque, here is a practical guide to the fundamentals.

1. A Practical Classification of Traditional Motifs

To make studying and identifying these motifs easier, this lesson organizes them into four accessible categories:

• Floral & Foliate Motifs (Udbhida Rupa): The Liyawela (scroll/vine), the Neluma (lotus), Kadupul, Bo-path (sacred fig leaf), and the Annasi-mala (pineapple blossom).
• Natural Animal Motifs (Sathva Rupa): The Hamsaya (swan/goose), elephant, lion, bull, and fish.
• Composite / Mythical Creatures (Prabandha Rupa): Legendary hybrid figures such as the Serapendiya, Gajasimha (elephant-lion), Makara, and Kinnara.
• Geometric & Inanimate Patterns (Jyamithika Rupa): Single and double rope borders (Lanwa), Arimbuwa, Kundirakkan, Vaka-deka, and line rules.

2. The Liyawela: Practicing a Basic Foliate Scroll

Among traditional decorative patterns, the Liyawela (creeper scroll) is one of the most widely used. It features an undulating continuous stem from which leaves, shoots, buds, and small blossoms branch out.

A Step-by-Step Method for Practicing a Basic Liyawela:

Step 1 (The Continuous Stem): Rather than drawing leaves first, sketch the main stem as a smooth, continuous S-curve with a light pencil stroke.

Step 2 (Adding Stem Thickness): Draw a parallel contour line along the stem to establish its physical thickness.

Step 3 (Positioning Leaves and Flowers): Within the inward curve or hollow of each wave, place a primary blossom or stylized scroll-leaf.

Step 4 (Tendrils and Secondary Details): Add small shoots, buds, and node rings (puruk) along the stem to achieve a balanced, flowing look.

Practical Note: A Liyawela runs straight along a horizontal border, while on a curved vessel or an ornamental plaque, it can be gently adapted to follow the perimeter.

3. The Lotus (Neluma): A Symmetrical Overhead Pattern

The lotus appears in classical art in many forms and profiles. Here, we examine the flat, symmetrical, top-down lotus motif frequently placed in the center of ceiling panels, metal trays, or circular medallions.

Constructing a Symmetrical Lotus Step by Step:

Step 1 (The Center): Lightly draw a small central circle (the seed core or nelum bottama) freehand or with a compass.

Step 2 (The First Tier of Petals): Arrange an inner ring of pointed petals spaced evenly around the core.

Step 3 (Staggering the Second Tier): When adding the outer ring, place the tip of each petal in the gap between two inner petals. Alternating the petals in this way gives the flower a layered appearance rather than resembling a flat wheel.

Step 4 (Outer Border / Petal Band): If desired, add a further petal tier or a repeated border of pointed petals along the edge to complete the motif.

4. Animal Motifs: Serapendiya, Hamsaya, and Gajasimha

Classical decorative art features both naturalistic animal forms and composite creatures combining features of multiple beasts:

• The Serapendiya: A mythical composite figure combining the head of a lion with the body of a bird. On flags, carved panels, or plaques, it is often arranged as a heraldic pair facing each other.
• The Hamsaya: A stylized swan representing grace and purity. Depictions of two swans with intertwined necks (the Hamsa Puttuwa) are well known in temple ceiling paintings and traditional woodwork.
• The Gajasimha: A composite creature featuring an elephant's head and trunk upon a lion's body, traditionally placed near entranceways or the corners of carved panels.

A Notable Characteristic: In certain traditional designs integrated with scrollwork, the tail or mane of an animal motif transitions into a foliate scroll (Liyawela), helping tie the creature into the surrounding decorative background.

5. Practical Design Principles for Applied Projects

When incorporating these motifs into an applied art exercise (such as a cushion cover, book jacket, decorative vessel, or plaque), keep these guidelines in mind:

1. Outer Boundary & Centerlines: Establish your outer boundary (circle, square, or rectangle) first, and lightly sketch guidelines or symmetry axes if needed.

2. Placing the Focal Motif: Anchor your composition with one prominent central motif (such as a top-down lotus, a Hamsa Puttuwa, or a Serapendiya pair).

3. Restraint in Composition: Rather than crowding multiple animal motifs onto one surface, focusing on a single, well-executed theme produces a more cohesive traditional result.

4. Balancing Empty Space: Use foliate scrolls where needed to connect the focal motif with the frame, leaving comfortable breathing room between elements so the main subject remains distinct.

5. Framing with a Border: Enclose the design with a neat border, such as repeated lotus petals (Nelum Pethi), a rope twist (Lanwa), or a simple Arimbuwa.

Quick Summary

• Liyawela: A practical way to practice is drawing the flowing stem first, then adding leaves and blossoms along its curves.
• Lotus: Build outward from the central circle in staggered, concentric petal tiers to create a balanced, top-down design.
• Animal Motifs: Figures like the Serapendiya, Hamsaya, and Gajasimha can be gracefully tied into adjacent scrollwork where appropriate.
• Layout: Avoid trying to fill every empty gap; a well-balanced design leaves enough room for the primary motif to stand out clearly.