Research Methodology
Chapter 3: Research Methodology
3.7 Tools for analysis of identified design elements
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the Sudarshan chakra in his upper right hand. A traditional depiction is Vishnu reclining on the coils of the serpent shesha accompanied by his consort Lakhmi as he
"dreams the universe into reality" (Fred S. Kleiner, 2007). It shows the story of Vishnu puran. It says all the religion is one and the supreme that is Vishnu and others are its avatar.
c) Jay Vijay: They are the two gatekeepers of the abode of Vishnu known as Vaikuntha (meaning place of eternal bliss) (Sukumari, 1998, Maehle, 2012). There is a story that once Vishnu was resting and Kumaras appear to meet Vishnu so Jay Vijay stopped them by saying that Vishnu is resting and he can’t meet anyone. On this Kumaras replied Jay and Vijay that Vishnu is available for his devotees any time, and cursed both the keepers Jay and Vijay. Suddenly Vishnu appeared and asked Kumaras to undo the curse but the curse was not reversible. Instead, he gives Jay and Vijay two options. The first option is to take seven births on Earth as a devotee of Vishnu, while the second is to take three births as his enemy. After serving either of these sentences, they can re- attain their stature at Vaikuntha and be with him permanently. Jay and Vijay cannot bear the thought of staying away from Vishnu for seven lives. As a result, they choose to be born three times on Earth even though it would have to be as enemies of Vishnu.
d) Arch on the main door: Polylobed arch of the pediment and the upper curve has influence from Bhaona performance (traditional Assamese play).
e) Motifs: It depicts the elements of nature like flowers and plants and it is taken from
‘Rangiyal flower’ and ‘Ashoka flower’ which has a symbolic association with Madhavdeva.
Human being always try to interpret things as per their understanding and background knowledge. One can’t take reality for granted and define it objectively.
Semiotics teaches one that reality is a system of signs. Studying semiotic can help to be more aware of reality as a construction and of the roles played by everyone in constructing it. Semiotics theory has been elaborated by Cropley, D. H. (1998) and found suitable for dissecting the meaning in the context of this research.
Fig. 3.11: Towards formulating a semiotic theory of measurement of information: Fundamental concepts and measurement theory (Cropley, D. H.,1998)
For analyzing the design elements in Naamghar, Semiotic (The intended meaning) approach has been adopted from Barthian’s theory of visual identification. Barthian’s idea is to identify the layer of meaning associated with elements connected with the visual semiotics. The first layer denotes the layer of Denotation, which gives an idea about with who and what is being represented? Below are few examples presented by the researcher representing Xorai and Gamosa.
Fig. 3.12: Semiotics models by two thinkers
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Semiotics is a study of signs and according to Saussurean model; the sign is the whole that results from the association of signifier and the signified. This relationship is called ‘signification’ and the value conferred by a sign depends on its relationship with other sign within the system. The meaning making and perception of Naamghar elements depends on relationship generated by different components of the Naamghar elements.
Design elements in 26 Naamghars are analyzed separately by syntactic, semantic and pragmatic approach.
i) Syntactic Approach:
Syntactic is a study of relationship among sign in formal structure. It is useful to understand structural relationship among the parts of sign. This section utilizes the syntactic principle to see the relationship of Naamghar elements with respect to its positioning.
In case of Xorai : Object and its position
Fig. 3.13: Position of the Xorai in Naamghar
ii) Semantic Approach:
Semantics is a study of meaning created by sign in a system, where they interact with other signs. This approach has been used to analyze Naamghar elements to see how effective is the different design elements in overall meaning in relationship with Naamghar and genre wise element’s classification.
Object Meaning
(a)
Xorai
(b)
Gamosa
Fig. 3.14: (a) Xorai and (b) Gamosa
iii) Semiotic and connotative Interpretation:
The methodology involves mainly semiotic and connotative interpretation of data gathered in extensive field study using visual techniques as well as literature review on Naamghar.
For instance the main Naamghar (Barpeta), which is one of the oldest institution, most likely to be preserved was selected for investigation along with other Naamghars. In this context it will be noteworthy to consider the Saussurean dyadic model of sign in Fig. 3.15
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Fig. 3.15: Concept of Signifier and Signified
iii a). Structure and meaning making
Individual elements act as building block of an object (Xorai with Gamosa, betel nut etc. together) where its form, placement and dimension plays an important role in communication of object matter (composition). Considering from the Barthes’s visual semiotics point of view, his denotation of individual elements is an unproblematic issue (Fig. 3.16).
Fig. 3.16: Structural analysis Barthes (2009)
Knowing the written language ensures each viewer to understand the actual meaning of object. But the connotative meaning of the object gets generated through understanding of the message which is hidden somewhere in the form and structure of the object.
This does not mean that denotation is entirely up to the beholder. This also depends upon the context (Leeuwen, 2001). This could be further illustrated by taking examples of two objects used in Naamghar namely the main gate and the main door, which has been discussed in this context previously.
Saussurean model of sign found suitable to understand the elements associated with signifier and significance hence to understand the ‘signification’. In the case of design
elements its expression (signifier) and context (signified), which is analyzed and further explored into shape, size, structure, material and colour in case of ‘expression’ and in case of ‘context’ its form (which is symmetrical, Asymmetrical) and value.
Fig. 3.17: Structural diagram of Semiotic elements in Naamghar
Semiotic elements structure adapted from Saussurean model of sign found suitable for the research on Naamghar.
iii b). Connotation and Denotation:
For viewers who know the language of the elements/objects, it's easier to convey the object and its meaning. For those who know the language or who are already associated with Naamghar, it is very easy to tell about the object or the elements associated with it but what other meaning the producer is expressing with the help of objects design has specified is something, which requires more efforts to decode the meaning hidden inside.
The connotation of meaning and conversion of design elements in Naamghar varies on these values and associations created by different components of the elements of Naamghars. For analyzing the design elements in Naamghar Semiotic approach has been adopted from Barthian’s theory of visual identification. His idea is to identify the layer of meaning associated with elements connected with the visual semiotics. The first layer denotes the layer of Denotation, which gives an idea about with who and what is being represented? Here are few examples is been represented of Xorai and Gamosa.
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Object Denotation (Who/what is being represented)
(a)
What: Xorai (name)
Form: Its a metal object which is having a half cylindrical and semi-sphere on top shape.
Function: It is been used as an offering utensil or tray for prasad (devotional offering of food) and other items placed in front of the Thapana (Naamghar) for soliciting blessings by the lord and is used while performing respectful offerings.
(b)
What: Gamosa
Form: A hand woven white cloth with design woven with white and red colour thread.
Function: It is used as a gesture of respect and its very auspicious and represents the Assamese identity and culture.
Fig. 3.18: Denotation and Connotation meaning of (a) Xorai and (b) Gamosa
The other layer which represents its meaning is Connotation, which enquire about the value and idea expressed through what is been represented and through the way in which it is been is represented (Leeuwen 2001).
Denotation (Who/what is being represented) Connotation (value/idea expressed)
Who: Xorai (name)
Form: It’s a metal object which is having a half cylindrical and semi-hemisphere on top shape.
(i) Its a manufactured bell-metal article and an object of higher respect and is used as a container-medium while presenting respectful offerings.
(ii) It is also been used as offering plate or tray in which food or prasad can be offered in front of the Altar (Naamghar) for blessing by the God.
Who: Gamosa
Form: A hand weaved yarn white cloth with design weaved with red colour thread.
(i) It represents social status,
(ii) It also represents an act of purification and respect.
For viewers who know the language or who are already associated with Naamghar, it is very easy to tell about the object or the elements associated with these Naamghar elements but what other meaning the producer is expressing with the help of design of the objects has specified is something, which requires more efforts to decode the hidden meaning inside. It will be noteworthy to consider the Saussurean dyadic model of sign in Fig. 3.15.
For a researcher it is essential to have second-order understanding to provide appropriate sign so that viewer would be able to decode the meaning and understanding behind what is been denoted (Krippendorff, 2006). In the same way a second level understanding is required by the viewer to decipher the associated or symbolic meaning behind what is been characterized or represented. At this point second order understanding is required in the appreciation that, when the viewer will look at the different elements of Naamghar for instance on the Manikut with its actual meaning, they should be able to decode the message intended by the maker (here a craftsmen and artist) of the Manikut. In many possibilities or time, maker would present the Manikut with some sign to understand those hidden meaning. Also their meanings were suggested by society, which leads to understanding of the object (here Manikut). For example the role of Manikut in the Naamghar setting have been used to give the symbolic meaning, like seven stairs represents the seven levels to reach moksha (salvation) or to the supreme, which is God and with that representation of Vishnu Avatars (symbolic incarnations). Hence, this approach of bringing the meaning out of the context is been used everywhere in the study to analyze the elements of Naamghar and decode the meaning behind the object or image to bring out the result.
87 iv). Pragmatics:
Pragmatics is study of relationship between signs and sign-using agents. Here context contributes to the meaning and interpretation of particular design. This approach helps to see the display position, display technology and use of Naamghar elements.
Object Pragmatics
(a) Xorai
Function: It has been used as an offering plate or tray for prasad (edible offering) and other items placed in front of the Altar (Naamghar) soliciting blessings by the lord and is used while performing respectful offerings.
Process: One has to open it from the top side and distribute the prasad to the devotees.
(b) Gamosa
Function: Its used as a gesture of respect and it is considered very auspicious. It represents the Assamese identity and culture.
Process: It is kept in a foldable manner on top of the Xorai and presented to God.
Fig. 3.19: Pragmatic meaning of (a) Xorai and (b) Gamosa