Artwork Search
Arts in Southeast Asia Database
SculptureImage depicting The Great Demise of the Elephant at Ananda
These Buddha images seem to be part of the sculptural series narrating the story of the Buddha’s life enshrining inside both the circumambulatory path and the Mandapa. The Buddha’s life depiction at Ananda is considered to be one of the most perfect narrations in Pagan art.
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
SculptureThe Copy of Shwesettaw Buddha’s Footprint
The Buddha’s footprints in the after Pukam period is usually decorated with 108 blessing patterns. Some are in the tables spreading all over the foot and some are in the circle in the middle of the footprint. The edges are surrounded by Naga and are thick to store water. This is according to the concept of the footprint at Chavesedtong that is located on the riverside.
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.
SculptureBuddha’s Pavilion on the form of Phyathat
Small Buddha images in Mandalay art are usually enshrined at the Buddha’s pavilion on the form of Phyathat, which was very popular at Inlay lake, Chan state. Phyathat has four finials, which are very complex.
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.
