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Arts in Southeast Asia Database
PaintingBuddha Footprint on the ceiling
It seems that painters at Kyauktawgyi were quite modern in painting modern cosmology. Stars are arranged in groups according to the modern pattern. There are pictures and names that help identify each group of the stars. The painting of stars at Kyauktawgyi show that this Chedi is the actual center of the universe.
PaintingBuddha Footprint on the ceiling
Although paintings at Kyauktawgyi do not show any attempts to replicate Pukam arts, one element that shows a clear influence form Pukam art is the painting of the Lord Buddha footprints on the ceiling. This shows the protection of the Lord Buddha for believers. Although the foorprints show Pukam influences, the surrounding patterns are clearly Acantus from western influecne. As for Thai influence, giant faces of Thai style show that these paintings were painted by Thai artists or their descendants who were brought to Myanmar when they took over Ayutthaya.
PaintingDeva on the ceiling
Paintings at Kyauktawgyi depict prominent Thai Influences in many aspects especially the Thai-style gods and giant faces, which show a clear pattern of Thai classical masked ballet. It is possible that these paintings were painted by Thai artists who were brought to Myanmar when they took over Ayutthaya.
PaintingYaksa on the ceiling
Paintings at Kyauktawgyi depict prominent Thai Influences in many aspects especially the Thai-style gods and giant faces, which show a clear pattern of Thai classical masked ballet. It is possible that these paintings were painted by Thai artists who were brought to Myanmar when they took over Ayutthaya.
PaintingFlying figures
Because of western influences, paintings at Kyauktawgyi depict gods/hermits flying together with Cupid. Flower and flora patterns consist of Acantus leaves of western style. The langscape of the mountain at the background is also strongly related to western arts.
SculptureStanding Buddha Image at Shwezigon
The normal characters of the standing Buddha images in Pagan art can be described as followed. The robe is normally transparent and both-shoulder-covered. The stylized ends of the robe indicate the Late Pala influence. The right hand is in Abhya gesture while the left holds the tip of the garment n lower position than the right one indicating the influence from north Indian art.
SculptureStanding Buddha Image at Ananda
The standing Buddha image follows the genral charcteristics of Pukam art, wearing a robe that covers the whole body and the edge of the robe falls down from both hands in the split ends. This is the same as the late Pala period. Both hands show the first sermon posture, which is a special charcteristic of standing Buddha images in Pukam art.
SculptureSitting Buddha Image at Ananda
The sitting Buddha image here bears the normal character of the sitting Buddha in Pagan art. The robe is always in one-shoulder-covered transparent robe with the short end of the robe resting at the left shoulder, identity of Pala affiliation. The Maravijaya gesture is the most popular gesture for sitting Buddha both in Pala and Pagan art, as so the lotus cushion
