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Arts in Southeast Asia Database
SculptureClec Toran at Kubyauk Nge at Myinkaba
Kubyauk Nge is one of the best example of “the late Pukam Clec toran” in Pukam art. The Clec toran is high and upright. There are gods sitting on thier mouths. There are humans and animals at the sides. The trunk on the side is decorated with Makara releasing the lion, which is popular in the late Pukam period.
SculptureSri Lankan-styled niche
Sri Lankan-styled niche is an arch niche without Clec at the top. This niche shows the influence of Makara-Torana niche that featyred hugely in the late Pukam period. This is in line with history that many monks from Pukan went to study Buddhism in Lanka and brought Lankavong Buddhism back to Pukam.
SculptureKala faces disgorging garlands
At the top of the chamber of Chedi in Pukam is always decorated with Kara releasing garlands-Uba. Such patterns appeared in Pala before becoming very popular in Pukam art. They also show the will to always have the chamber deocated with fresh flowers.
SculptureTriangular motif with Kala face
The columns of the chamber are always decoarted with the “lower arch frame”, which is a part of the three patterns on the columns: The top arch frame – the flowers- the lower arch frame. All of the patterns are in the rectangular frame that is full of flower or Kanok patterns. Sometimes, there are Kara releasing flowers as well.
SculptureBejeweled Buddha at Ananda
This Buddha image is the best example of the bejeweled Buddha image in Pukam art. It wears the feather crown similar to Pala art. The crown consists of several triangles put together in rows. There is also a cap decorated with three triangles. There are earings and necklects on top of the robe. The robe on the left shoulder is a short one showing Pala influence.
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
