By John Falconer, Elizabeth Moore, Luca Invernizzi Tettoni, Alfred Birnbaum
The Burmese culture of structure, paintings and layout is historic, various and beautifully wealthy. a mirrored image of a civilization unbreached by way of eu powers for 3,000 years and motivated through China to the north and India to the West, Burmese layout is interwoven with non secular, non secular and political messages. it's only now that this practice is coming to be favored through Western scholars of structure and design.Burmese layout and structure will deepen and improve that appreciation, for this is often the 1st booklet to trap the whole span of Burmese layout, from arts and crafts to structure, from the enormous pagodas of Bagan to the architectural background of up to date Rangoon. masking either non secular and secular layout, this booklet bargains specialist insights supplied via best archaeological specialists during this box. With 500 full-color photos, it is a significant work-and essential for critical connoisseurs of structure, layout or Burma itself.
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Extra info for Burmese Design & Architecture
A manuthiha sits in front of a row of sein-daung, a row of upright leaves. Sein-daung are seen on a number of structures such as monasteries and rest houses (zayat). The motif also adorns palanquins and military helmets. The manuthiha has a human head with a double lion body. The creature is associated with the Mon peoples of Myanmar: it was created long ago to frighten an ogre and ogress that had been terrorizing the countryside by eating small children. The large naga, or serpent, that gives the Nagayon its name rises up to shelter the shrine containing the main image of the Buddha.
In eras before our own, Buddhas also existed and Myanmar Buddhism counts 28 previous Buddhas. At Bagan these are often shown in a row at the top of a wall covered with mural paintings accompanied by an explanatory legend. The rich interior decoration is completed by the floral and vegetal motifs. These fill the wall spaces, the deep-set arches over windows, and the ceiling. The overall effect is sumptuous as if the temple is swathed in textiles and carpets. Exterior decoration is equally diverse, but much has been lost over the centuries.
It also brought European visitors who spoke glowingly of its riches. A Dutchman in the 16th century compared Mrauk-U to Amsterdam and London! The architecture of Rakhine is unique and very different from the rest of Myanmar. Especially in the monuments dating from the 15th and 16th centuries, the affinity with the tradition of Bihar is more evident than any influence from Upper Burma. The two main characteristics are the combined use of brick and stone and the fortress-like appearance of the religious buildings, enclosed by massive walls almost devoid of any decoration.