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Arts in Southeast Asia Database
SculptureMandalay-styled Buddha image at Ananda
Mandalay standing Buddha image is characterized by the diadem and the robe with natural way of folding. Sometime the mirror mosaic is added on the robe for decoration. While the right hand is in Varada gesture (sometime with myrobalan as being typical to this period), the left one holds normally the tip of the robe.
SculptureMandalay-styled Buddha image at Shwezigon
The Mandalay-styled standing Buddha image has a cap on the face and wear the robe that covers the whole body. This is similar to Pukam style. The strips are all natural, which is incfluened by Chinese art. There are patterns and mirrors on the robe. Both hands show the blessing attitude and hold the robe down. Sometimes, the right hand holds a myrobalan, which has never happenned in Pukam art.
SculptureMandalay-styled Buddha image at Endawya
The seated Buddha of Mandalay period has certain important features including having the cap on the face and wearing the askew robe instead of covering the whole body as in the standing Buddha. The strips on the robe are natural, which is influenced by Chinese art. Sometimes, there are patterns and mirrors decoatred on the robe. At the left shoulder, the end of the robe stretches to the abdomen. The end of the robe is highly decorated with patterns such as many unnatural folds. The image is of subduing Mara attitude, typical for Puakm seated Buddha image
SculptureMahamayatmuni
Buddha image in Rakhine Art is characterized by the absent of the robe of the upper body. The image sits in Virasana posture in south Indian fashion but gestures Maravijaya which differently affiliates to North Indian art. King Bodawpaya and later kings presented him some regalia and he image became the bejewelled Buddha. The regalia style, such as the pointed crown and the breast chain in X-shape is of Ayutthayan fashion as it is noted that several Ayutthayans settled down at Sagaing after the collapse of Ayutthya in the 18th century A.D.
SculptureMain Buddha at Kyauktawgyi
The principle Buddha image of Kyauktawgyi is the transition between “Angwa” and “Mandalay”, by having a smooth robe and the second layer hanging from the left shoulder. However, the lower end of the robe is folded following the Mandalay style. This image is made of a large marble-alabaster. This is the reason why it is called “Kyauktawgyi”,which means large stones.
Sculpture80 disciples at Kyauktawgyi
At the cloister, there are 80 disciples called “the great Asiti disciples”. These disciples are made from marble-alabaster similar to the principle image. They sit with legs folded back on one side and the hands are rested politely on the lap. The robes have stips, which shows the tendency towards Mandalay art.
SculptureBuddha Iamge at Pindaya Cave
Buddha images in Pindava cave are tge finest example of the Buddha images in this school of art. They usually have large heads, small body and narrow shoulder. There is a gourd on top of the head following the Chinese style of art. The robe is highly made having two layers of robes similar to those in Angwa-Amarapura. The righ shoulder is also covered with the robe following the Chinese influence.
SculptureBuddha Iamge at Pindaya Cave
Buddha images in Pindava cave are tge finest example of the Buddha images in this school of art. They usually have large heads, small body and narrow shoulder. This particular image is an ornamented one, having triangular neckpieces similar to Pala art, but the earings are very big and spreading, which is the influence from Tibetan art. The Buddha image wears the U-shape breast chain and has the flower breast pieces showing the mixture of Tibet and Ayutthaya arts.
