University of Yangon
Department of Archaeology
(2016-2017) Academic Year
Field Report on Archaeol... more University of Yangon Department of Archaeology (2016-2017) Academic Year Field Report on Archaeological Sites: Bagan, Sale, Pakokku and PakhanGyi area in Magwe and Mandalay Regions Wint Thu Thu Maung
ABSTRACT
Saku region has remained largely unchanged the successive historic time of Pyu, late Bag... more ABSTRACT Saku region has remained largely unchanged the successive historic time of Pyu, late Bagan, Inwa, Konbaung, and Colonial periods up to the present. But Saku still remains largely unknown in the academic field. A different kind of heritage in the country’s suburban areas can be found, including Kwel Tel Pagoda in the 19th century, and Hsu Taung Pyae Yoke Sone and Shi Htaunt Pagodas in the 19th century. The interior walls and ceilings of these pagodas are completely covered with paintings arranged in the same way. The mural paintings which are found in Saku are definitely unique artistic creations which support our understanding of the late Konbaung wall painting style and add some evidence to help interpret similar works in nearby regions and also the central regions of Myanmar in the same period. This paper focusses on the mural paintings in Saku pagodas and their special artistic features. These wall paintings can tell us more about the meaning of Buddhist visual culture in Myanmar, how the paintings communicate and why they are arranged in this manner, and what their role was in the production of rhetoric and narrative in the 19th centuries.
University of Yangon
Department of Archaeology
(2016-2017) Academic Year
Field Report on Archaeol... more University of Yangon Department of Archaeology (2016-2017) Academic Year Field Report on Archaeological Sites: Bagan, Sale, Pakokku and PakhanGyi area in Magwe and Mandalay Regions Wint Thu Thu Maung
ABSTRACT
Saku region has remained largely unchanged the successive historic time of Pyu, late Bag... more ABSTRACT Saku region has remained largely unchanged the successive historic time of Pyu, late Bagan, Inwa, Konbaung, and Colonial periods up to the present. But Saku still remains largely unknown in the academic field. A different kind of heritage in the country’s suburban areas can be found, including Kwel Tel Pagoda in the 19th century, and Hsu Taung Pyae Yoke Sone and Shi Htaunt Pagodas in the 19th century. The interior walls and ceilings of these pagodas are completely covered with paintings arranged in the same way. The mural paintings which are found in Saku are definitely unique artistic creations which support our understanding of the late Konbaung wall painting style and add some evidence to help interpret similar works in nearby regions and also the central regions of Myanmar in the same period. This paper focusses on the mural paintings in Saku pagodas and their special artistic features. These wall paintings can tell us more about the meaning of Buddhist visual culture in Myanmar, how the paintings communicate and why they are arranged in this manner, and what their role was in the production of rhetoric and narrative in the 19th centuries.
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Department of Archaeology
(2016-2017) Academic Year
Field Report on Archaeological Sites:
Bagan, Sale, Pakokku and
PakhanGyi area
in Magwe and Mandalay Regions
Wint Thu Thu Maung
Thesis Chapters
Saku region has remained largely unchanged the successive historic time of Pyu, late Bagan, Inwa, Konbaung, and Colonial periods up to the present. But Saku still remains largely unknown in the academic field. A different kind of heritage in the country’s suburban areas can be found, including Kwel Tel Pagoda in the 19th century, and Hsu Taung Pyae Yoke Sone and Shi Htaunt Pagodas in the 19th century. The interior walls and ceilings of these pagodas are completely covered with paintings arranged in the same way. The mural paintings which are found in Saku are definitely unique artistic creations which support our understanding of the late Konbaung wall painting style and add some evidence to help interpret similar works in nearby regions and also the central regions of Myanmar in the same period. This paper focusses on the mural paintings in Saku pagodas and their special artistic features. These wall paintings can tell us more about the meaning of Buddhist visual culture in Myanmar, how the paintings communicate and why they are arranged in this manner, and what their role was in the production of rhetoric and narrative in the 19th centuries.
Department of Archaeology
(2016-2017) Academic Year
Field Report on Archaeological Sites:
Bagan, Sale, Pakokku and
PakhanGyi area
in Magwe and Mandalay Regions
Wint Thu Thu Maung
Saku region has remained largely unchanged the successive historic time of Pyu, late Bagan, Inwa, Konbaung, and Colonial periods up to the present. But Saku still remains largely unknown in the academic field. A different kind of heritage in the country’s suburban areas can be found, including Kwel Tel Pagoda in the 19th century, and Hsu Taung Pyae Yoke Sone and Shi Htaunt Pagodas in the 19th century. The interior walls and ceilings of these pagodas are completely covered with paintings arranged in the same way. The mural paintings which are found in Saku are definitely unique artistic creations which support our understanding of the late Konbaung wall painting style and add some evidence to help interpret similar works in nearby regions and also the central regions of Myanmar in the same period. This paper focusses on the mural paintings in Saku pagodas and their special artistic features. These wall paintings can tell us more about the meaning of Buddhist visual culture in Myanmar, how the paintings communicate and why they are arranged in this manner, and what their role was in the production of rhetoric and narrative in the 19th centuries.