Fine Arts

Permanent URI for this collectionhttp://repository.kln.ac.lk/handle/123456789/2395

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    Iconographic, Symbolic, and Semiotic Values of Dance, Music, and Visual Arts in Ritual Theatre: A Multidisciplinary Approach
    (Faculty of Humanities, 2024) Narangoda, Prashanthi
    Ritual theatre, deeply embedded in cultural traditions and spiritual practices, serves as a profound manifestation of human expression and connectivity. At its core, ritual theatre intertwines various art forms, including dance, music, and visual arts, enriched with iconographic, symbolic, and semiotic values that contribute to the holistic experience of the performance. This discussion aims to divert our studies into multifaceted dimensions in the context of ritual theatre, aiming to unravel their profound significance and interplay. Dance, as a primordial form of human expression, embodies intricate movements, gestures, and choreographies laden with symbolic meanings. Through the language of the body, we call it body language; dancers communicate a variety of stories, narratives, emotions, and spiritual insights, surpassing linguistic barriers also connecting with the audiences before him. Within ritual theatre, dance assumes a central role in depicting mythological narratives, ritualistic gestures, and symbolic transformations, invoking spiritual transcendence. Similarly, music serves as a potent medium for evoking emotions, shaping atmospheres, and conveying cultural narratives within ritual theatre. From primal drumbeats to melodious chants, musical compositions resonate with symbolic motifs, rhythmic patterns, and harmonic structures that echo the cosmological order and spiritual dimensions of the performance synchronize with the movements of dance and the imagery of visual arts is an integral component of ritual theatre. Visual arts, on the other hand, encountering a diverse array of forms such as masks, costumes, props, and stage design, infuse ritual theatre with a range of symbolic motifs, iconographic elements, and semiotic codes. Each visual element carries layers of cultural meanings, mythological references, and ritualistic symbols, creating a visual vocabulary that communicates narratives and invokes transcendental experiences. It is apparent that elaborate costumes representing deities and archetypal figures or through symbolic objects attributed with sacred significance, visual arts has become an integral part for embodying the spiritual essence of ritual theatre. Thus, it is apparent that the iconographic, symbolic, and semiotic values embedded within the elements of dance, music, and visual arts in ritual theatre constitute a rich cultural heritage of any society, demonstrates its spiritual wisdom, also enumerating an artistic expression. By exploring these dimensions, scholars and practitioners can deepen their understanding of ritual theatre as a dynamic intersection of artistic creativity, cultural identity, and transcendent experience, and the researchers can explore the semiotic values that encompass the societal needs, customs and traditions.
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    An investigative Analysis of Sophocles’ King Oedipus on Modern Sri Lankan Stage.
    (Sahithya.Dept of Cultural Affairs,Colombo Sri Lanka, 2016) Jayasekara, K.
    Tragedies in Classical Greece had been performed in the open air theater in a festive atmosphere of dramatic competition. The audience consisted of citizens and visitors to the city. They had a prior knowledge of the story line of the myth that represented the history and religion of the Greeks. The poets, their techniques as well as the basis of interpretation given by the individual tragedians to traditional material were also known knowledge or easily understood by the audience. The theatre culture they were experiencing had prepared them to receive the messages given. Though some according to their level of intelligence saw only the superficial or the topical, others managed to seek out the universal. A researcher finds himself confronted with the question of how and why these classical tragedies appeal, impress and influence the modem world. The difference of time, place and culture are obvious. But dramas do not enjoy the value they used to enjoy as a mode of mass communications. Modern technology had presented the world with much effective methods of communication. To arrive at a conclusive answer it is necessary to investigate the nature and development of classical tragedies performed on the global as well as the local stage. A short history of the development would serve as a background to the core of the investigation, which is the analysis of a popular Greek tragedy adapted for the local stage in the modern period. Critical analysis will be based on personal observation made with a critical distance, survey of interviews and critical reviews.
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    Significance of Performing Arts as Intangible Cultural Heritage of Sri Lanka
    (Sojo University, 2015) Jayathunga, M.
    Cultural divelsit-v ol a cotirtrl is mainlv baseci on ethnicity and religiositl' ol rt: rnhabrtants. Culture of cnch ethnic comr.nuniq depends on thcir customs. bclicfs^ rituals. superstitions. conrmunication and oral tradition. During thc course of time sorne ethnic communitics of Sri Larrka hal'e decreascd in nLLmbers and somc are d.ving out rapidl1,. But throughout historr.' frot.n generatron to generation they havc transrr-rittcd l
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    Illukvava Terracotta Figurines
    (Postgraduate Institute of Archaeology, Colombo, 1990) Nandadeva, B.D.
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    Rock Art of Sri Lanka
    (Indira Gandhi National Centre for the Arts, 1992) Nandadeva, B.D.
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    Recent studies on Sri Lankan mural painting technology
    (Archetype, and Washington D.C.: Freer Gallery of Art, 2002) Nandadeva, B.D.