Sculpture
Burma is a country built on a diversity of beliefs and religious tradition, much of
which is represented artistically through the medium of sculpture. Outside the tribal
areas, the religious tradition that has been prominent in Burma for the past 2000 years
has been Theravada Buddhism. Originally influenced by India, much of Burma’s
ideas about life, manners and aspirations have flourished to provide an outlet of
artistic expression, especially through the use of sculpture (Fraser-Lu 1981:72). There
are 24 sculpted pieces, 3 votive tablets, 5 spirit houses, and 1 spirit mask in the
collection. The materials used range from wood and lacquer to alabaster and bronze.
It is an eclectic collection of material that for the most part has been made more
significant due to donor information. Where for instance there are five examples of
the same type of alabaster Buddha, only one example will be referenced, unless it
makes a unique contribution to the collection.
Buddhist Sculpture
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Bronze – Accession numbers :41.2000 / E339 / 64.1932.3
Wooden/Paper Mache – Accession numbers: E321 / 106.2000.19 79.1929.5 /
E328
Ox Cart Ornaments – Accession number: 91.2003.3
Spirit Houses – 9.1945.601 & 602
Alabaster/Marble – Accession numbers: 136.1993.90 / E324
Votive Tablets – Accession number: 51.1924
Bronze
41/2000 – Seated Buddha
This bronze Buddha is seated in Vajrasana (lotus), the left hand is in dhyanamudra
(meditation), and the right hand in bhumisparsamudra (touching the earth).
Bhumisparsamudra is associated with the enlightenment of the Buddha at Bodhgaya.
The shoulder robe is squared-off, which is a later stylistic development. The Buddha
is sat on a high pedestal. Although the donor is unknown, the image was viewed by
John Guy of the V & A who dated the piece to the late 18th Century. Stylistically, the
piece shows many Shan state Buddhist sculptural characteristics such as the oval face
with the wide nostrils, the small mouth upturned in half smile, the large ears swinging
out to touch the shoulders, and the three characteristic creases visible on the neck
(Fraser-Lu 1981:67). A very similar example of this sculpture has been documented
in ‘Arts of Asia’, Vol. 11, No. (Fraser-Lu 1981 : 69). Further examples of Shan
influenced Buddhist Sculpture can be seen in Burmese Buddhist Sculpture (The John
MÅ‘gar Collection) (Karow 1991:80-84).
E339 – Seated Buddha
This bronze Buddha is seated in Vajrasana (lotus). The left hand is in dhyanamudra
(meditation), and the right hand in bhumisparsamudra (touching the earth).
Bhumisparsamudra is associated with the enlightenment of the Buddha at Bodhgaya.
The figure has broad shoulders and a slim waist. There are some signs of gilding,
which has eroded. The donor of this object was a Mrs Stone of 36 High Street, Exeter,
and the piece was acquired by the museum in 1876. Unfortunately, the provenance is
unknown. An image of the figure was assessed by John Guy of the V & A, who
suggested that ‘it followed the Classical Pagan Model, with the squared-off shoulder
tending to be a later feature….and that the sculpture may have previously had a base
as in 41.2000, but it appeared to have broken off’ (Pers. Comm. 2005).
64.1932.3 – Reclining Buddha
This bronze reclining Buddha image is of the Mandalay style. The lying down posture
of the image represents the Buddha’s death Parinirvana (the dying or passing into
Nirvana, the ultimate goal of devout Buddhists). He is shown lying on his right side
with his cheek resting on his right hand propped up by
his elbow. The ears and usnisha are stylistically of the Mandalay style period, which
has developed since the end of the 18th century. A similar example has been
documented in ‘Arts of Asia’ (Vol.11, No.2 March-April) (Fraser-Lu 1981: 71).
Wooden/Paper Mache Sculpture
E321 – Seated Buddha
This seated Buddha, which is of good condition is made of wood, preserved in lacquer
and decorated with gold leaf. He sits with the soles of his feet in his lap, with his left
hand in dhyanamudra (meditation), and the right hand in bhumisparsamudra (touching
the earth). The fingers are exaggeratedly long. The robe on the chest is plain, but over
the legs forms rippling drapery. The face is rectangular and indicates influence from
the medieval style developed at Pagan. The eyebrows are stylized and almost form an
‘L’-shaped outline. An inscription around the base reads in English ‘Sitting Budh or
Buddha. A Burmese Idol’. It has been suggested that this was inscribed after the
sculpture reached Exeter (Isaacs 2000:130).
The donor of the piece was Captain Truscott, a member of the East India Company
Army. Although a date of late 18th/early 19th century has been suggested, an exact
provenance is unknown (Isaacs 2000:130). The piece is significant to the collection
and has been documented in ‘Vision from the Golden Land, Burma and the Art of
Lacquer’ (Isaacs 2000:130). There is almost an exact copy currently in the British
Museum.
106.2000.19 –Seated Buddha
This seated Buddha is made of wood, and decorated with a gold pigment. The base is
painted red. The Buddha is seated in Vajrasana (lotus), the left hand is in
dhyanamudra (meditation), and the right hand is in bhumisparsamudra (touching the
earth). Beneath him are two accompanying seated Buddhas. The donor is unknown,
however the exact provenance and date of Accession in Burma is known. On the back
of the Buddha is an original label stating the following: 24
‘Burmese god taken from hpoongie (priest) house in one of the Kubbo Valley
Villages by a sepoy of the 42nd Gurkha I.I’s in the Kubbo Valley. Field Force,
Burmah, 1886-87’
An image of this object was viewed by John Guy of the V & A, who highlighted the
fact that although the piece itself is not that significant compared to other sculptural
pieces, it is significant of its time, because the original date and provenance can be
located (Pers. Comm. 2005).
79.1929.5 – Seated Buddha
This seated Buddha is made of wood and decorated with gold pigment. The Buddha is
seated in Vajrasana (meditation) with the right hand in Bhumisparsamudra (touching
the earth). It is suggested that thayo has been used to create the stucco effect
indicating the falling of the robe over the left shoulder. On the back of the sculpture
there is a hollowed compartment, which is either for attachment or there for the use of
inserting an offering or amulet.
An image of this Buddha was assessed by John Guy who indicated that it was really a
generic model. The reason it has been included it in the report is because of the use of
the thayo technique, and also because of the compartment. Although no provenance is
known, the object was accessioned to the museum in 1929 by Miss G. Jackson of
Dawlish. Therefore, the sculpture must pre-date the 1920’s.
E328 – Seated Buddha
This ornately decorated seated Buddha is made of paper-mache. It has then been
lacquered and either painted or gilded and inlayed with colour glass. Lacquer mixed
with bone ash can provide moulded decoration for hair, jewellery, and borders on
clothing. The lacquer also provides a base for the inlay of coloured glass and mirror,
which was popular in later images. The Buddha is seated in Vajrasana (lotus), with
the left hand in dhyanamudra (meditation), and the right hand in Bhumisparsamudra
(touching the earth).
The red painted base on which the Buddha is sitting has an inscription ‘The Sitting
Budh’, which may have been added when the object was accessioned. The Buddha is
ornately decorated with turquoise, green and purple glass. The ears have holes in the
lobes. Further information regarding Buddhist images made from wood and lacquer
can be obtained from ‘Arts of Asia’ (Vol. 11, No.3, May-June) edited by Sylvia
Fraser-Lu.
Although the provenance is unknown, the donor is the wife of the late Mr F.W. Locke
Ross, who died in 1860, and therefore the object must pre-date the 1860’s. An image
of the object was assessed by John Guy of the V & A who suggested that the piece
was of Mandalay Court Style (which developed end of 18th/early 19th century), and
was probably new when Locke bought it (Pers.Comm 2005).
Spirit Houses – 9.1945.601 & 602
There are five spirit houses in the collection at the RAMM. These forms of sculpture
are also known as Natsin. These two pieces were donated by Waterfield in 1945, but
exact provenance is unknown. The objects are heavily corroded but relate to the Nats,
which are the Burmese spirits of nature or deceased ancestors. There are 37 main
Nats, which relate to Burmese life. The appeasement and worship of Nats is
conducted alongside the practice of Buddhism, and as seen in the image on the right
there is a Buddhist sculpture incorporated into the spirit house.
Although there are better examples of spirit houses in other collections, these pieces
are significant to the collection because they provide an insight into how malleable
the medium of sculpture can be in accommodating various belief systems.
Marble/Alabaster
136/1993/90
This seated Buddha has been carved out of marble. There are traces of gold and red
pigment on the body of the sculpture. The Buddha is seated in
Vajrasana (lotus), the left hand is in dhyanamudra (meditation), and the right hand is
in Bhumisparsamudra (touching the earth). The oval face is separated from the hair
line by a fillet band. The head is marked by rows of small, slightly raised curls. A
thick round usnisha sits at the crown of the head. The arch of the eyebrows is very
natural, but the nose is prominent. Viewed straight on, the ears curve outwards and
touch the shoulders.
Provenance and original owner is unknown however the object was accessioned to the
RAMM from Woodspring Museum in Weston-Super-Mare. An image of the object
was viewed by John Guy of the V & A, who suggested that the sculpture was of
Mandalay Style and a date of 19th century was given.
Similar Mandalay image sculpture has been documented by Sylvia Fraser-Lu in ‘Arts
of Asia’ (1981, Vol.11, No.1, Jan-Feb, p.72-82)
E324 – Alabaster Seated Buddha
This seated Buddha is sculpted out of alabaster and there are traces of gold and red
pigment. The Buddha is seated in Vajrasana (lotus), the left hand is in dhyanamudra
(meditation), and the right hand is in Bhumisparsamudra (touching the earth).
Although provenance is unknown, the object was donated to the museum in the late
1800’s by Mr Ross of Topsham, wife of Mr Locke Ross. Therefore, the piece can be
dated to pre-late 1800’s. There are two other pieces in the collection: 66/2003, and
79/1929/3 that share similar characteristics to E324.
The Buddha has all the stylistic characteristics of the Mandalay Workshop. An image
of the object was viewed by John Guy of the V & A, who suggested that the sculpture
was of Mandalay Style and that those images sculpted out of poorer material were
literally churned out in the Mandalay workshops to enable the devotees that bought
them to gain merit. The reason the Mandalay Workshop Buddha’s are included in the
report is because they represent a fundamental element of Buddhist day-to-day life in
Burma: the endless pursuit of gaining merit.
Votive Tablets – 51.1924
There are three votive tablets in the collection at the RAMM. They can all be dated to
the Late Pagan Period (13th Century A.D.) The quality of the tablets is similar and
therefore in this report tablet 51.1924, which was donated by Mr E.H. Willcock of
Exeter, is being described. The clay votive tablet is of a deep reddish colour, which
suggests that the tablet was fired. The sculpture depicts the Buddha seated beneath the
tower of Mahabodhi temple at Bodhgaya in Eastern India. The temple marks the most
holy of Buddhist pilgrimage sites, the site being where the meditating Buddha resisted
the temptations sent by Mara (the embodiment of evil) prior to his enlightenment. The
Buddha is flanked by two attending Buddhas. It is possible that there is a horizontal
inscription located beneath the seated Buddha, though if so it is heavily corroded. The
majority of tablets from the Pagan period carry at least one line of Buddhist
scriptures, which is predominantly, the ‘ye dharma’ verse: ‘he who sees the dharma
sees me; he who sees me sees the dharma’.
Votive tablets were made by faithful Buddhists in the shape of circles, bodhi leaves
and windows. They were made in abundance as offerings and were enshrined in
pagodas all over Burma as an act of merit and as a means of propagating the faith.
Votive tablets are notoriously difficult to place because of the mobility of the tablets
and the mobility of the moulds. An almost identical tablet is currently on display in
the V & A Museum.