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Old Bagan Art
Myanmar Buddhist Bagan Art
Since the very early Bagan Art "Buddhist Art" is highly represented.
Starting the artwork with some similarities to the reliefs of the stone fences, the Indian stupas in Bharhut (2nd century BC), Sanchi (1st to 3rd century BC) and Amaravati (1st to 3rd centuries BC).
The image and architecture of the Stupa have a high rank in Bagan's artwork since it symbolized one of the four main events in the life of Gautama Buddha, namely, the Parinirvana, the "Path to Nirvana".
into the Buddha immediately after his death, and therefore the image of Stupa Often symbolizing the death of Buddha, the remains of Thayekhetaya Payagyi, Bawbawgyi and Payama, which have survived to the present day, are built in the 6th to 9th centuries and rise above the city walls in the immediate vicinity of the city (Pisseyan), the Kaunglaung, the Kaunglaung, the so-called Kaunglaung, which means "bell".
Bagan Architecture
The Payagyi and Payama Stupa are crowned by a screen called the Burmese Hti And the Hti are also the three skin parts of the stupas of later times, as they were built during our whole days in the history of Burmese architecture. They are mostly stupas of great proportions, which reach a height of up to 40 meters and more. The stupas of Thayekhetaya attract particular attention through their form. This differs considerably from the Indian and Sinhala prototypes, which were built before and at the beginning of our time calculation.
The famous stupas of San-chi, the stupas of the sharks of Karla and Ajanta (India), and the stupas of Anuradhapura (Sri Lanka) with their hemispherical, slightly squat shape, resemble the long-drawn stupas of Thayekhetaya, Which according to previous knowledge have no analogies in the neighboring countries, in no way.
The famous stupas of San-chi, the stupas of the sharks of Karla and Ajanta (India), and the stupas of Anuradhapura (Sri Lanka) with their hemispherical, slightly squat shape, resemble the long-drawn stupas of Thayekhetaya, Which according to previous knowledge have no analogies in the neighboring countries, in no way.
Mural or wall paintings in old Burmes art
The art and architecture of Bagan are an undoubtedly unique phenomenon
There is no place in the world so densely populated with hundreds of architectural religious art monuments and building complexes that have also been erected in the relatively short period of about 250 years in the Middle Ages.
At the same time, the culture of Bagan remains typical of medieval Buddhist architecture in general. Combining a uniqueness and its unmistakable iconographic characteristics. It was deeply conservative and the evolution of the artistic style of Bagan can be traced mainly to subordinate details.
Architecture in old Bagan
Wall Painting Photos
An evolution has taken place and the character of artistic creation in architecture and painting has been transformed.
Over time it was transferred from the strict tectonics and logic of the forms of the eleventh century to the prevalent dominance of the decorative elements in the 13th century as in the complex analysis of the individual monuments.
The indisputable stylistic unity of the monuments is not a standardization. On the contrary, they were of compelling manifoldness. This is equally true of the architecture as well as the picturesque arrangement of the temples and their sculptural decoration. The festive canons of the general arrangement of the temples were combined with rich variations of their proportions and proportions as well as the forms of architectural decoration and the decoration with wall paintings and murals. And it is almost unfathomable, in spite of the established Buddhist convention.
The indisputable stylistic unity of the monuments is not a standardization. On the contrary, they were of compelling manifoldness. This is equally true of the architecture as well as the picturesque arrangement of the temples and their sculptural decoration. The festive canons of the general arrangement of the temples were combined with rich variations of their proportions and proportions as well as the forms of architectural decoration and the decoration with wall paintings and murals. And it is almost unfathomable, in spite of the established Buddhist convention.
This clear system of succinct compositions is planted below and above of various ornaments, the lower frieze starting directly at the floor, imitating the older Bagan temples on the first stucco, while the upper consists of more than ten different ornament motifs.
As a whole, they form a very ornamental rich and formal ribbon. The plant ornament is also interwoven with figurative motifs. You can look at it for hours and discover ever new details, fascinated by the invention of the one-time artists, of their admirable mastery, with which they painted animals and fabulous beings and incorporated into floral patterns.
A complex system of decorative art
The objects of art were among other herons gannets ducks ants deers hares, or long-horned bivalves, owls, peacocks, or fantastic mollusks can be recognized.
All flows into one another and yet acquires its own life, forming a whimsical network of imagination and reality. Apart from the decorative function, the ornament also fulfills other tasks. It underscores the architecture of the temple interior, its constructive scheme by emphasizing every essential detail of the architecture - the vaults, the arches over the two entrances to the circulating gallery, and over the central entrance into the temple.
It marks and emphasizes every corner of the interior, framing the Buddhas sculpture and the gray Su-jet compositions that decorate the temple wall, meaning "organizing" the distribution of the paintings on the wall surfaces and on the ceiling according to the architecture of the interiors of the building. The paintings in the Kubyaukgyi temple at Wegyi in are related to the artistic style, the character and the role of the ornament in the overall system of the picturesque decor, the temples of Thambula, Lemyethna and Theinmazi, dating from the middle of the 13th century. These creations give a fairly clear idea of the new tendencies in the decorative painting of Bagan at the end of the 12th and beginning of the 13th century.
About wall paintings in many Bagan temples of this period
Photos
The ornamental motifs of the wall paintings were so prominent that they determined the overall character and the peculiarity of the picturesque decor. The forms of these ornamental paintings became lighter, more elegant, more complex, and more expressive.
Exuberantly rich in figurative details, they testify to the high artistic mastery, the imagination, and the fine understanding of their creators for the laws of decorative art. The scenes from the jatakas attained a finished simplicity, the rich characteristic of the Bagan character being voluminous.