The Art of Burma -- General studies
Individual Documents
Description:
Introduction: "The
main
purpose
for
this
study
on
the
Myanmar
cloth
painting
fine
art
as
comparative
work
during
11th?18th
century
is
to
attain
perceptive
knowledge
and
exchange
of
expertise
among
the
neighbouring
counties
in
Southeast
Asia.
In
Myanmar,
knowledge
and
practice
of
Theravada
Buddhism
has
been
related
to
the
literature,
architecture,
fine
arts
and
daily
life
style
of
the
people
residing
in
the
ancient
city
of
Bagan
(11th-‐13th
century
CE).
At
that
time,
the
tr
aditional
fine
arts
of
Myanmar
in
Bagan
was
unique
and
perpetually
augmented.
Thus
varieties
of
arts
like
architecture,
stucco
carvings,
inscriptions,
sculpture
of
wood/stone
and
other
materials
turnery
and
tapestry
and
glazed
plaques
and
reliefs
and
smith ?works
were
decorated
at
the
stupas
and
temples.
Moreover,
mural
paintings
were
also
depicted
those
mainly
consisted
of
Buddha?s
life
stories
including
Nativity
scenes,
ascending
the
throne,
great
renunciation,
Enlightenment
45
years
preaching
Dhamma,
550
Jatakas
stories
and
Demised
Buddha
in
the
Parinicana
scene.
Nearly
at
the
same
period
of
the
11th century,
fine
arts
on
cloth
painting
emerged
in
Myanmar.
According
to
the
documentary
references
and
survey
findings
of
archaeologists
and
researchers,
it
was
stated
that
Myanmar
cloth
painting
fine
arts
appeared
in
the
ancient
city
of
Bagan
(Abeyatana
Temple
No.
1202).
Since
then,
the
tradition
of
cloth
painting
spread
out
by
the
fine
artists
to
the
other
people
within
Bagan
and
also
to
different
places
in
later
periods.
Abeyatana
Ceti,
situated
over
the
vault
of
the
main
temple
No.
1202
(1084-‐1113
CE),
was
the
only
temple
being
built
in
11th
century
CE.
Even
after
800
years,
some
remains
of
cloth
painting
were
seen
on
the
lowest
terrace
of
the
Ceti
of
that
temple.
Regarding
the
cloth
painting
terraces
at
Abeyatana
Ceti,
it
can
be
assumed
to
be
one
of
the
oldest
extent
images
in
Myanmar.
In
this
paper
I
will
also
argue
that
it
could
be
one
of
the
oldest
extent
cloth
painting
idols
in
Southeast
Asia.
At
the
present,
there
are
traces
of
cloth
paintings
in
twenty
temples
in
Myanmar
from
the
11th-‐18th
century.
(See map. 1)
Out
of
20,
sixteen
temples
are
situated
in
Bagan
(See
map. 2),
one
is
in
Salay,
one
in
Sarle,
one
in
Mandalay
and
the
final
one
is
in
Pakhan
Gyi.".....International Conference on Burma/Myanmar Studies: Burma/Myanmar in Transition: Connectivity, Changes and Challenges: University Academic Service Centre (UNISERV), Chiang Mai University, Thailand, 24-26 July 2015
Aye Aye Oo
Source/publisher:
International Conference on Burma/Myanmar Studies: Burma/Myanmar in Transition: Connectivity, Changes and Challenges: University Academic Service Centre (UNISERV), Chiang Mai University, Thailand, 24-26 July 2015
Date of publication:
2015-07-26
Date of entry/update:
2015-08-10
Grouping:
Individual Documents
Category:
Painting, Society and Culture, Burma/Myanmar - general studies, Arts - general, The Art of Burma -- General studies, International Conference on Burma/Myanmar Studies (ICBMS) 23-26 July, 2015
Language:
English
Format :
pdf
Size:
3.58 MB
more
Description:
Abstract: "The
genre
copy
thachin
or
?copy
song”
pervades
the
popular
mu
sic
scene
in
Myanmar.
These
songs
are
akin
to
cover
versions
of
existing
international
hits,
but
with
new
lyrics
in
the
Burmese
language,
and
performed
by
Burmese
musicians.
These
songs
can
have
incredible
genre-‐crossing
capabilities,
from
blues
to
rap,
heavy
metal
to
salsa.
The
current
situation
for
popular
music
production
in
Myanmar,
as
elsewhere,
is
connected
with
the
country?s
history
of
military
rule
and
years
of
censorship
and
economic
difficulties.
Advocates
for
the
genre
of
copy
thachin
argue
that
borrowing
international
songs
allowed
local
artists
to
learn
about
global
popular
music,
and
the
numerous
popular
musicians
and
songwriters
in
Myanmar
are
testament
to
this.
On
the
other
hand,
with
the
removal
of
the
stringent
censorship
regime
and
the
increasing
contact
with
international
consumer
culture,
groups
of
Myanmar
music
fans
are
increasingly
critical
of
copy
thachin,
seeing
the
practice
as
derivative
and
an
embarrassment.
This
article
will
explore
the
history
of
the
genre,
notions
of
authenticity,
and
dis
cuss
Myanmar?s
changing
relationship
with
the
symbolic
capital
of
its
own
culture
industry
and
its
relationship
with
international
popular
culture.".....Paper delivered at the International Conference on Burma/Myanmar Studies: Burma/Myanmar in Transition: Connectivity, Changes and Challenges: University Academic Service Centre (UNISERV), Chiang Mai University, Thailand, 24-26 July 2015.
Jane M Ferguson
Source/publisher:
International Conference on Burma/Myanmar Studies: Burma/Myanmar in Transition: Connectivity, Changes and Challenges: University Academic Service Centre (UNISERV), Chiang Mai University, Thailand, 24-26 July 2015
Date of publication:
2015-07-26
Date of entry/update:
2015-08-10
Grouping:
Individual Documents
Category:
Music and musical instuments, Performance Art, Arts - general, The Art of Burma -- General studies, Multimedia, Freedom of opinion and expression: - the situation in Burma/Myanmar - reports, analyses, recommendations, International Conference on Burma/Myanmar Studies (ICBMS) 23-26 July, 2015
Language:
English
Format :
pdf
Size:
788.13 KB
more
Description:
Abstract: "In
every
society,
concerning
the
history
of
arts,
musical
instruments
are
almost
universal
components
of
human
culture.
The
Myanmar
Drum
Ensemble
(saing
wain
in
Myanmar
language)
is
one
of
Myanmar?s
traditional
musical
instruments.
In
Myanmar
society,
the
drum
ensemble
is
used
as
part
of
the
annual-‐cycle
rituals,
life-‐cycle
rituals
and
crisis
rituals.
This
research
describes
the
dynamics
of
the
Myanmar
Drum
Ensemble,
saing wain.
Field
ethnography,
focus
group
discussions
(FGD),
key
informant
interviews
(KII),
in-‐depth
interviews
(IDI),
informal
conversations
(IC)
and
direct
observation
(DO)
were
used
for
data
collection.
Study
sites
are
Bo
Tun
Zan
ward
in
Daw
Pon
Township,
No.2
ward
in
North
Okkalapa
Township,
No.5
ward
in
Mayangone
Township,
Ye
Mon
village,
Kyungalay
village,
Kyauk
Ain
village
in
Hlegu
Township.
The
Myanmar
drum
ensemble
emerged
from
a
merger
of
the
Royal
Music
and
the
Folk
Music
from
the
Kone-‐baung
period
(AD 1752-‐1856).
It
has
three
special
characteristics:
its
Melodic
Character,
its
Harmonic
Character
and
its
Rhythmic
Character.
Furthermore,
the
members
of
the
drum
ensembles
are
known
to
have
had
close
relationships
with
the
public
throughout
the
colonial
and
the
post-‐independence
periods.
Today
drum
ensembles
have
closer
contact
with
people
from
the
rural
areas,
whereas
city
dwellers
rely
more
on
modern
musical
instruments
for
entertainment.".....Paper delivered at the International Conference on Burma/Myanmar Studies: Burma/Myanmar in Transition: Connectivity, Changes and Challenges: University Academic Service Centre (UNISERV), Chiang Mai University, Thailand, 24-26 July 2015.
Cathy Tun
Source/publisher:
International Conference on Burma/Myanmar Studies: Burma/Myanmar in Transition: Connectivity, Changes and Challenges: University Academic Service Centre (UNISERV), Chiang Mai University, Thailand, 24-26 July 2015
Date of publication:
2015-07-28
Date of entry/update:
2015-08-10
Grouping:
Individual Documents
Category:
The Art of Burma -- General studies, Arts - general, Performance Art, International Conference on Burma/Myanmar Studies (ICBMS) 23-26 July, 2015
Language:
English
Format :
pdf
Size:
3.11 MB
more
Description:
"The purpose of this on-line study-guide and course-outline is to make text and visual materials on the arts of Burma readily and inexpensively available, in particular to students and teachers. These materials assume college level reading skills so that the contents may be used for independent study courses, as a resource for teachers in secondary schools, as well as anyone interested in expanding and enriching their knowledge of the Arts and Cultures of Burma. Because the text is written for a general audience it does not contain the detail or footnotes that are found in scholarly publications. A select bibliography is provided at the end of each section for those who wish to pursue topics previously discussed. The illustrations are digitized from my own collection of color slides with the several exceptions are noted..."
TOC: Overview: Purpose, Extended Contents, Acknowledgements, and Geographical Overview;
Art History of Burma: Synoptic Overview;
Chapter 1 - Prehistoric and Animist Periods c. 1100 BC to c. 200 AD: Paleolithic and Neolithic sites, Animism, and Karen Bronze Drums;
Chapter 2 - The Pre-Pagan Period: The Urban Age of the Mon and the Pyu c.200 to c.800 AD: Mon and Pyu City states: Thaton, Beikthano, Halin, and Srikshetra;
Chapter 3 - the Pagan Period c. 800 AD to 1287 AD;
Part 1 - Introduction and City Plan of Pagan;
Part 2 - Architecture 1 - General Characteristics and Stupas;
Part 3 - Architecture 2 - Temples and Monasteries
Part 4 - Sculpture, Conclusion, and Bibliography;
Chapter 4 - The Post Pagan Period;
Part 1 - Introduction and the Ava Period;
Part 2 - The Konbaung Period: Amarapura;
Part 3 - Mandalay Period;
Special Section: 80 Scenes of the Life of Buddha.
Richard M. Cooler
Source/publisher:
Northern Illinois University
Date of publication:
2002-00-00
Date of entry/update:
2003-06-03
Grouping:
Individual Documents
Category:
The Art of Burma -- General studies, Archaeology - General, multiple periods, Architecture
Language:
English
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