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Arts in Southeast Asia Database
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.
SculptureWooden sculpture of four Devaduttas
In Mandalay art, each temple is normally decorated with wooden dolls telling the Buddha life and stories such as the four stages of life : the elderly, the sick, the dead and the monk. These sculptures usually appear in the set and they are realistic showing the wrinkles of the body and distended body. This relaistic aspect is another developmental step of Myanmese sculpture as well as showing the western influence.
SculptureAirawat Elephant at Mahamayatmuni Temple
This group of sculpture is clearly a Bayon art and can be dated in the reign of king Chatavaman VII. The costumes of the sculpture include the crown with a triangle tiara and the cloth worn over the trunk of the sculture. Also, the triangle neckpiece of the lion and the necklects with Uba of many sculpture show the common characteristics of Khmer. However, becasue this set of sculture has been moved so many times, some of them have been ruined along the way. Some of the pieces have been repaired by the Myanmese such as the lion that has a Myanmese head and Khmer body.
SculptureLion at Mahamayatmuni Temple
This group of sculpture is clearly a Bayon art and can be dated in the reign of king Chatavaman VII. The costumes of the sculpture include the crown with a triangle tiara and the cloth worn over the trunk of the sculture. Also, the triangle neckpiece of the lion and the necklects with Uba of many sculpture show the common characteristics of Khmer. However, becasue this set of sculture has been moved so many times, some of them have been ruined along the way. Some of the pieces have been repaired by the Myanmese such as the lion that has a Myanmese head and Khmer body.
SculptureDoor with motif decoration at Shwenandawkyaung
In the reign of king Mindong, western influence featured hugely in Myanmese art and Acanthas was adapted to use in Myanmaese architecture. This is the picture of the door frame that Acanthas is used at the top of the frame as well as on Clec niches and columns. The wall of the building is decorated with smalls humans and covered with gold. This is why this building is called “Shwenandaw” or the golden throne.
SculptureJataka Scenes at Shwenandawkyaung
In the reign of king Mindong, western influence featured hugely in Myanmese art and Acanthas was adapted to use in Myanmaese architecture. This is a carving telling the Jataka stories surrounded by Acantas decorated at teh corners of the platform in the building of Shwenandawkyaung. It is possible that such decorations were added later when the building was already turned into the temple.
