The traditional ten arts of myanmar
Description: The traditional ten arts of myanmar
Arts of decoration and works of ornamentation are, in fact, the cultural heritages which plays in the vital role of civilized society and give a concrete accounts to reflect the standard of the daily-life as well as the culture.
The arts of making such things arc specific functions come out from the artistic creation and well-experiences with dexterity. Yet these arts were introduced into Myanmar during the Bagan period 11-13 century A. D that the scholars and archaeologists regarded for years, the archaeological evidences of ancient Pyu cities such as burial-urn, stone relief figures, gold and silver images, as well as coins, the stupas of Baw-Baw-Gyi and Be-Be-Gyi built of large stones confirmed that some of Myanmar traditional arts had been highly flourishing in Myanmar since Pyu period from 3 to 9 century A.D then fully blown in Bagan period from 11 to 13 century A.D mentioned with initial word of "Pan". Here, "Pan" means artistic decorations and ornamentations or "Pan" to a direct-meaning is flower through then a sense of beauty and graciousness. These arts were resulted by harmonious composition of Indian cultural influence and the beautiful ornamentation of Mon cultural heritage. Then, in In-wa period, these arts had reached it's highest standard and enriched with a maximum artistic decorations based on experimental senses and inspirations.
So, the traditional arts and handicrafts of Myanmar could be classified into 10 groups based on their raw-materials and artistic-detail, except for music and lapidary;
(1) Pan-Be - The art of making iron-ware (blacksmith) (2) Pan-Dein- The art of making gold & silver-ware (3) Pan-Tie - The art of making bronze-ware (4) Pan-Taw - The art of making stucco & plaster carving (5) Pan-Yan - The art of making brick bondage (monasonry) (6) Pan-Pu - The art of making carving (wood) (7) Pan-Ta-Maw - The art of making carving stone (8) Pan-Put - The art of making wood-turning (9) Pan-chi - The art of drawing & painting (10) Pan-Yun - The art of making lacquer ware
(1) Pan-Be
The scholars regard that the art of making iron-ware had been flourished ever since Ta-gaung period, Pyu period, Han-Linn period and Therakhittra period then widen in Bagan period. The work of beaten-iron was mentioned as "Pan-Be", "Pan-Fe" in Bagan period. Iron-wares of far row, knife, augur, ax, and house-hold tools were produced. For the sake of military affair, swords, spears, and martial armour were produced either. Especially, sword was made a large number regarding the symbol of dignity and status. It was put in account of 5 requisite regalias of the king. Thus the art of making iron-ware, especially sword was favoured and highly flourished in those days.
Base on the chronicles, the most famous swords were those of king Duttabaung, king Thadominpya, and so on whereas the king's sword was double-edged sword. During the late Kon-baung period (Yatanabon period) the casting of iron was introduced in modern technique. With the leadership of Crown-prince Ka-naung, an iron-factory was built at the head of Shwe-Taung jetty in Sagamg and operated by foreign-Supervisors of William.Jone, Hallack and Graham but stopped after the third British invasion to Myanmar.
(2) The art of making gold & silver ware
The gold and silver wares of Pyu period, somehow, mentioned the standardised art and that it was existed in those days. A reliquary in the shape of Sinhale-smpa was excavated from the Ka-Lar-Kan mould of Therakhittra, made of silver.
Most of Pyu's gold and silver wares were excavated from the relic-chamber of ancient-pagodas. They were caskets, bowls, neck-lace, small-bells, cups, combs and so far, made of gold and silver. Later, many a number of trays, rice-pot, spoon, cup, receptacles, hand-cup, for royal presents (spectres) and Hansa betel box, betel-receptacle, jug, Lion-goggle, fruit, container, vases, for the king as well as royal costumes for princes and princess were seen through Sagaing, Pin-ya, In-wa, Taugn-Oo, NyaungYan and Kon-baung periods. The most common wares were seen as umbrella-section, weather-vane, and diamond-orb always inlaid with precious stones.
(3) The art of making bronze (brass) ware
In Buddhist countries in South-East Asia, especially in Myanmar, the venerated objects such as Buddha images, well-known Hindu-God, triangle gone, circular-gong, musical instruments were cast in bronze or alloyed metals (gold, silver, iron, lead, zinc). During Pyu period, the art of bronze wares were produced as coins religious forms. But in Bagan period, the art of making bronze-ware was widen and led to the dedication of bronze bell. The custom of dedication bronze-bell had been practiced by king kyansittha, king Alaungsithu, King Dhamacedi, King Bodawpaya, kingtharawaddy and King Singu. The gigantic bell of Dhammacedi in Pazundaung creek, bell of Bodawpaya at Mingon, bells of tharawaddy and Singu at Shwe-Da-Gon pagoda platform are concrete evidences. The most significant Buddha-image cast-in-bronze is that Thet-Kya-Thi-Ha Buddha-image at Aung-nan avenue in Mandalay dedicated by king Mindon of Kon-baund dynasty. It is known for well-proportionate and gracious-brightness.
(4) The art of making stucco (plaster) carving
As the evidences of Pyu period, the stucco-carving of man, leograph, ogre and makara (sea-monster) in foliage pattern confirmed the existence of this art in Pyu-period. In Bagan period, the influence of Indian-culture and Mon architecture were gradually changed into unique Myanmar style so it was the remarkable period for the evolution of Myanmar architecture which could be studied at monuments of Bagan. The stucco-carvings of two-sea monsters, flaming-arches, hanging. Flowers and many figures on the walls, faces of pillars, cornice, duyin (band in the breast-form of peacock) at the head of arch and roofing in Bagan will give you the breath-taking beauty and masterful carving. Among these works, the stucco carving of Nanpaya is reputated the most excellent and beautiful artistic decoration ever.
(5) The art of making brick-bondage
Yet, there is no concrete-record about the origin of masonry, the large stupas of Baw-Baw-Gyi, Payamar, Payagyi at Therakhittra mentioned that the existence of masonry as fundamental part of construction architecture. In Bagan period from 11-13 century A.D, masonry was reached at it's climax. The striking monuments of brick-laying and bondage system with excellent stucco and mortar work could be viewed as the massive. Shwe Zi Gon, the tendency Ananda temple, the high That-be-nyu and the massive Dhammayangyi, made of comparatively large brick and stone, especially the sand stone. For lower Myanmar, the elegant Shwe Da Gon is the symbol excellent masonry and perfection of Myanmar stupa.
(6) The art of carving or sculpture (Wood)
Originally, the art of carving or sculpture was appeared in Northern-India at first. In Myanmar, the earliest sculpture images were excavated from the ancient Pyu city of Hanlin as Hindu-gods and animal figures. During Bagan period, the donor of king kyansittha and arahat Shin Arahan were carved at Ananda temple where the large Buddha images of wood-carving stood either. Then King Alaung-sithu also carved the statues of fore-father and ancestors in order to pay-homage daily and be excused from any wrong done. Later the wood carving was more prominent and common. The masterpiece wood carving can be studied the original door-leaf at Shwe-Zi-Gon in Nyaung-U and at the back-slab of Shwe-Gu-Gyi pagoda in Pakkoku which are beautifully decorated in foliage pattern and the symbol of masterful dexterity as well as the most beautiful work in Myanmar.
(7) Pan-ta-maw the art of stone-carving
Pan-ta-maw is itself a word composed of Myanmar and Mon whereas "Pan" in Myanmar-language means the art of artistic decoration and Ta-maw in Mon language prefers to the stone thus the art of artistic stone-carving and decoration may be regarded.
Yet, there was no mention about Pan-ta-maw in Pyu period, the stone-carving of Buddhistic images and arahat-statues from the excavation of Therakhittra as well as the lower-portion of two large-stone-relief from the gate to the second brick-building in Beikthano mentioned that the art of stone-carving had been existing in Pyu period.
Among the stone-carving, Maha-thet-kya-marazein Buddha-image in Mandalay dedicated by king Mindon is the fine-example and carved out of a single-block. It was the biggest of it's kind in those days and completed in 7 waning-day of kason 1227 (1863-64 A.D). It has a dimension of about 27 feet high, 12 feet at breast-width and 18 feet at head perimetre and perpetuated for proportion and clear white-colour.
(8) The art of wood-turning
Though, the art of wood-turning had been flourished for years, there was no records and evidence up to Pinya period. In Pinya period, the regalias were set in wood-turnings. Then, the stand and handle for receptacle, tray, and tea-leaf boxes as well as the posts of banisters, spinals and palanquins for monastery, Sima-hall and royal-palaces were made of wood-turnings. The products of wood-turning were the common to every-hold in Yatanabon period.
(9) The art of making lacquer ware
The records about lacquer ware were no trace in Bagan period but the lacquer ware of betel-boxes, container, betel-tray in Rakhinne style could be studied in Pin-ya period. Then it was put in account of royal-gift in Kon- baung period and varied into betel-boxes, rice-receptacle, tea-leaf-receptacle, aim-receptacle, large-cup, tray, and large- tray.
Now, the art of making lacquer-ware is the most attractive arts and handicraft in Myanmar and centered at large-cities, especially in Bagan-Nyaung-U area and Kyauk-Ka village in Monywa district. It is generally divided into 2 classes based on the raw-material. If the lacquer ware is made of pony-tail, it means genuious-one and symbol of last-longer, if it is made of bamboo or rattan and so far, it may be regarded as rough lacquer ware.
(10) The art of drawing
The art of drawing in ancient Myanmar could be seen as mural-painting on the walls of Pagan stupas and temples. Line-system was practiced to depict 550 Jataka - stories, Buddha's life stories and images, portrayal of Mahayanism and Tantrism, the figures of Brahman and celectial-beings.
The art of drawing in Bagan period was based on the four symbolizing themes;
Kanot (lotus) : painting of foliage patterns and scrollwork
Nari (lady) : painting of god, goddess, prince, princess, sakka, Brahma, all men figures
Kapi (Monkey) : painting of leograph, Hansa-bird, monkey ogre and mythical figures.
Gaza (Elephant) : portrayal of elephant, all the massive and still-structures.
There was no idea of perspective and panoramic view in Bagan period.
Later, painting on lenin was introduced in In-wa, and Kon-baung period. During colonial period, the techniques of Western arts were introduced to Myanmar. The excellent painting of Kon-baung period as five-requisite regalias, royal-barge and boat, 55 ways of making hair, and various elephant figures can be seen at museum inside the Mandalay-palace. The excellent mural-painting of Konbaung period could be enjoyed at the walls of Ananda brick-monastery in Bagan, Tilaukaguru cave in Sagaing hill, Kyauk-Taw-Gyi Pagoda of Mandalay as well as ancient stupas, temples and monasteries on In-Le lake of Southern Shan State.
Summing up, the traditional ten arts of Myanmar have been nourishing for centuries and reflecting the influences of Buddhism on Myanmar community. At first, the decoration of monuments and Buddhism have been widen to common usage and reputated the glory arts and handicrafts of Myanmar tradition.