A universal motif behind Matisse’s works and the Jain miniatures is the Creeper Motif. Matisse decoded it with his space and graphic solutions to combine the different planes with rhythmic linearity. Jain miniaturists wove the planes with grid and rhythms of arabesque linearity.
In classical Greek architectural orders the harmony was achieved with a thorough decoding of the creeper motif, The Doric harmony is achieved through the sheer proportion of pure shapes and convolute-shape solutions. In Ionic, different geometric shapes are united with volutes and scrolls. And, in Corinthian order, the geometry is harmonized with acanthus leaves and scrolls.
In India, Ajanta’s every element is harmonized with the creeper motif. Be it the projections and recessions of planes or dvipakshiya-tribhung (two aspectual tri-fold, taking care of tri-fold in roundness and frontal plane), whole of Ajanta speak of coding and decoding of creeper motif.
Thus it becomes evident that the seriousness of the quest in artistic intent decodes the universal creeper motif.
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