Art of Myanmar

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Art of Myanmar refers to visual art created in

Trade with India during the Pyu period brought deep cultural contacts heavily influencing many aspects of visual culture in Myanmar. However, scholarship and archaeology on Pyu, Mon and Dvaravati art in neighbouring Thailand were biased by colonial attitudes in the 20th century, placing a greater emphaisis on comparisons to well-documented Gupta art. The three cultures, traditionally divided by differences in artistic styles, actually share many similarities and evidence of cross-cultural influences within their art.^[6]

Nonetheless, contact with India brought

Sculpture was also very prominent in the period. Buddha images for the purpose of worship within temples. Buddha images of the period are distinct for their round face, short urnas and strict expressions. Many surviving statues are made of bronze, iron or sandstone.^[11] Other scenes from Buddhist folklore like the birth of the Buddha were common subjects for statues and reliefs. Furthermore, many bronze sculptures depicted Parvati, the consort of the Hindu god Shiva, as she was regarded as an important deva in Bagan.^[12]

Exteriors of Bagan temples also featured intricate

During this period, ten traditional arts, called pan sè myo (ပန်းဆယ်မျိုး, lit. 'Ten Flowers'), were established within the culture. The ten arts are as follows:^[13] Lacquerware is also a distinct craft originating from the late Bagan period with the earliest fragments of basketry in Bagan being dated to the 13th century.^[14]

• 
  Awakening of Buddha Taṇhaṅkara, Wall Painting in Upali Thein Temple, Bagan
• 
  The Birth of Buddha, 12th century statue, Bagan
• 
  Stucco Mid-Relief on Mingalazedi Pagdoa, Bagan
• 
  Buddha statue in Ananda Temple, Bagan
• 
  Stucco on facade of Htilominlo Temple
• 
  Surviving Wood carvings on Shwezigon Pagoda, Bagan

Taungoo and Ava periods

After the Mongol invasions of Burma and the subsequent decline of Bagan as a cultural center led to three centuries of warfare and internal division. Art produced in the rise of Burmese kingdoms were often plundered, destroyed or burnt especially when rival kingdoms came to surpass them in power. There is, therefore, significantly less art from the 14th to 16th centuries.^[2]

Bayinnaung's conquest and subjugation in 1555–1562 of Manipur, Bhamo, Zinme (Chiang Mai), Linzin (Lan Xang), and up the Taping and Shweli rivers in the direction of Yunnan brought back large numbers of skilled craftsmen into Burma. It is thought that the finer sort of Burmese lacquerware, called Yun, was introduced during this period by imported artisans belonging to the Yun or Laos Shan tribes of the Chiang Mai region.^[15] Having reunited the various Burmese polities, Bayinnaung built the Kanbawzathadi Palace incorporating gold plates into traditional Burmese architecture. Visitors recorded the palace as being magnificent and splendourous.^[16] Art from this period began to see more Shan and Mon influences. Buddha statues from both the Kingdom of Ava and the Taungoo period have larger heads and lotus-petal shaped halos.^[17]

After the collapse of the empire and the restoration of the Taungoo Kingdom, the capital was moved back to Ava with many referring to this period as the Ava period. This period is not to be confused with the Kingdom of Ava two centuries prior. Buddha images from this period are distinct for their large forehead and oval-shaped faces.^[18] Sculptors also began to work with marble and developed a style where the eyes looked down instead of outwards.^[2] Paintings in this period, like those found in the Oke Kyaung Monastery in Bagan, continued the religious theme and subject matter of the Bagan period. However, Ava period paintings gave the settings local contexts like contemporary hair styles and depicted more ordinary activities like fishing. Paintings from this era also saw the use of blues and turquoise pigments creating more vivid images.^[2]

Arakan art

The

Art historians do not have an agreed-upon definition of Shan art. It is believed to have originated between 1550 and 1772 CE, which was around the time that the two kingdoms of Lan Na and Lan Xang were both under the support of the Burmese.^[3]

Many pieces of Shan artwork depict a

Sculptures made in this art style were usually made of bronze and later would be sculpted with wood or in lacquer.[3] Traditional Shan art typically had a Buddha with the characteristic monk's robes, or adorned with a crown and decorated with various other mediums like putty and glass.^[3]

Shan sculptures are distinctive and easily recognizable when looking through the history of Burmese Buddhist art.^[3] Shan sculptures are often identified with oval shaped faces, soft smiles, and closed relaxed eyes.^[3]

Konbaung period

In 1752,

Statues from this period, particularly Buddha images, are typically divided into the Amarapura period (1789–1853) and the Mandalay period (1853–1948). King Bagyidaw moved the capital of the Konbaung to Amarapura in 1783 and artisans developed a unique style using wood gild with gold leaf and red lacquer. Images from this period may have been influenced by the capture of the Mahamuni Image with Burmese images featuring rounder faces.^[27] In 1853, after the loss of the First Anglo-Burmese War, Mindon Min moved the capital to nearby Mandalay with a planned city following the Buddhist Mandala. Buddha images from the last days of the Burmese monarchy followed a style with a broad band across the forehead and tight curly hair with a prominent ushnisha. Images also returned to various materials including alabaster and bronze. This style was retained through the period of British colonialism.^[28]

British Burma

The early 19th century also saw many prints made by British officers in the country, making sketches of the countryside during their time in the First Anglo-Burmese War (1824–1826)^[25]

Burmese European-style painting reached its heights in the early twentieth century from the opening of many art schools and increased travel by Burmese artists to Europe.

• 
  Royal Ploughing Ceremony, Saya Chone, watercolour 1907
• 
  View of the Great Dagon Pagoda, Kingsbury & Co., print 1825
• 
  Self-portrait, Bagyi Aung Soe, 20th century

Independence period

From 1962 to 1988, during the Cold War era, postcolonial Myanmar was isolated from the rest of the world as a way to maintain independence.^[4] In 1989, Myanmar began to open international trade and state control was relaxed. This allowed Myanmar's artists more opportunities to engage with international artists.^[4] In 1997, access to the internet allowed a contemporary art community in Myanmar to grow.^[4] However, government censorship, conflict, economic hardship and isolation have affected Myanmar artists and their art. For instance, the government restricted art to religious depictions and expressions of the natural beauty of the nation.^[4]

Government censorship

The government of Myanmar banned or confiscated artwork on prohibited subjects censored art exhibitions. The prohibited subjects included political criticism, nudity and even the use of certain colours. In 1970, censors defaced unapproved artworks with stamps reading "not allowed to show" on the front and back.^[31] Approved paintings depicted the political leader Ne Win (1910 – 2002), socialism and its agrarian utopia, the purity of Burmese culture and Buddhism.^[31] Some artists became defiant of the censorship.

Contemporary art in Myanmar

The

One of the first to study western art was Ba Nyan, one of the pioneers of Western-style painting in the country along with Ngwe Gaing and others.

San Hlaing was a Burmese artist born on 24 December 1923 in Pyapon, Ayeyarwady Region, Myanmar. He was a versatile artist who not only illustrated the traditional, but also commercial arts.^[33] He studied under artists Ngwe Gaing , Hla Maung Gyi, Sayar Mhat and artist U Thein Nyunt.

In the special issues of Taing Lone Kyaw and Myanma Alin Newspaer, all the covers were of U Sann Hlaing's paintings. Shumawa, Ngwe Taryi, Pe Phu Hiwar, Mahaythi, Yadanarmon, Myatsumon magazines, Loke Thar, Pyi Thu Kye, Khit Myanmar, Myitmaka, Byar Deik Pan, Taya Yeik Myaing Journals, U Sann Hlaing^[34] works were seen monthly and consecutively. From the No (1) issue of Sit Pyan, he drew illustrations for a long period. The 10 Jataka Tales, 550 Nipats were illustrated by U Sann Hlaing, which were fall with Myanmar styles and cultures.

Other artists whose works have been included in the permanent collection of the

The younger generation of upcoming international contemporary artists include Nyein Chan Su and The Maw Naing and the Gangaw Village Artist Group.

Other contemporary artists include Po Po (born 1957), a self-taught artist who lives and works in Yangon, and works with various media especially with installation works. He has staged solo exhibitions since 1987, such as "Untitled" and "Solid Concept". He participated in the Kwangju Biennale 2000, the Flying Circus Project 2004 and Yokohama Triennale 2005.

Most of the young artists who were born in the 1980s have greater opportunities to practise art inside and outside the country. Performance art is a popular genre among young Burmese artists, including Aung Ko, Moe Satt, Mrat Lunn Htwann and Nyan Lin Htet. Nyan Lin Htet started making performance art in the early 2000s and later joined the contemporary theatre group Annees Folles for intensive theatre training with Japanese theatre director Arata Kitamura in Japan. Since 2005, Lin Htet has been involved in the international performance art and theatre scenes. After founding the Yangon-based experimental theatre group Theatre of the Disturbed in 2005, Lin Htet directed theatrical adaptations of dramatic and literary works by Samuel Beckett, Eugène Ionesco and Franz Kafka as well as dramatic works by local playwrights including himself. In 2007, he was awarded the two-year artist-in-residency programme at the Cité internationale des arts in Paris, with the support of Alliance Française de Rangoun and the French Ministry of Foreign Affairs.

Notable Burmese artists

• Jataka Tales paintings. He was the designer of the Flag of Myanmar used from 1974 to 2010.^[37] His family preserved and collected over 400 of his artworks, including oil paintings, watercolors, and pen and ink pieces. In his honor, they established the Anawrahta Art Gallery^[38]
• Director
  Win Pe (Burmese: ဝင်းဖေ) — a cartoonist, painter and film director, worked for the Ludu Kyi-bwa-yay Press in Mandalay.^[31] His work was censored by the government. Win Pe said, "The military wanted to be sure of themselves, their security… that there was no direct assault against them through art."^[31]
• Aung Khaing — Khaing was a semi-abstract painter.[31] In 1984, at the Bogyoke Aung San Market, Khaing attempted his first solo exhibition of works influenced by those of Gauguin and Monet.^[31] During his exhibit, government censors visited him on three separate occasions. During the first few visits, the censors removed around thirty paintings they deemed inappropriate. On the final visit, all remaining artworks left on display were deemed unacceptable to be viewed.^[31] In protest, Khaing no longer displayed his paintings.^[31] However, in October 2013 at the Bogyoke Aung San Market, he held a solo exhibit.
• Maung Theid Dhi — During a more severe period of art censorship in Burma, Maung was arrested for not complying with censors' orders to alter his artwork.^[31] In 1974, at the Wild Eye Art Exhibition in Yangon, Maung exhibited a self-portrait on wood surrounded by a metal chain. Government censors interpreted this piece as a criticism of government restriction of Burmese life,^[31] and removed it from the exhibit almost immediately.^[31] The censors allowed Maung to retrieve the painting later. However, when it was returned, the work was missing its original adornments.^[31] Maung later put the same piece in another exhibit, but this time wrapped in leather and rope and placed atop the skull of a deer.^[31] Soon after displaying the new piece, censors arrested him without explanation and Maung spent a week in jail.^[31] After his release, Maung continued to exhibit the same piece. As a result, censors and detectives arrived at his home accusing him of creating political artworks.^[31] Several such visits caused Maung and his family great distress.^[31] Maung was arrested again for his “suspicious” artworks.^[31] Such distress left Maung too afraid to create paintings based on his political sketches but he did create paintings depicting the censors.

See also

• List of Burmese visual artists
• Sitt Nyein Aye, painter
• Htein Lin (born 1966), painter and performance artist
• Asian art
• Yangon Gallery

References