Diversity of Sacred Motifs; the Lotus on the Temples of Bagan (Pdf; 1243Kb)
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Diversity of Sacred Motifs: The Lotus on the Temples of Bagan SANDA LINN Associate Professor, Department of Archaeology Mandalay University [email protected] Alphawood Scholarship Batch (2018) Celebrating Diversity in Ancient Myanmar Hindu-Buddhist Art: Mythical Creatures Inaugural Alphawood Alumni Conference (Myanmar) Cover Thu Ya Aung November 9-11, 2019. Bagan Convener: Elizabeth Moore 2 Abstract “Diversity of Sacred motifs: the lotus on the temples of Bagan” focuses on the exterior lotus decorations of the temples during three phases of Bagan art between the 11th and 13th century CE. Changes in frequency and the motif design are identified, linked to the proliferation of temple building in the later phases of this Buddhist capital. Chronology of exterior lotus decorations The lotus is related to the previous lives of the Bodhisattva (the Buddha-to-be) in Buddhist art. Lotus flowers, buds, stalk and petals are carved as exterior decorations on the temples. The lotus was used as a sacred flower by many ancient cultures, and within Myanmar art, particularly at Bagan in the 11th to 13th century CE. They were an essential ornamentation of Early Bagan Period temples. At the 11th century CE Abeyadanar and Nanphaya temples, for example, the perforated windows are decorated with lotus motifs in various designs. Two designs can be seen at the Abeyadana: the four-petal lotus flowers inside a rhombus (Figure 1) and petals surrounding a stigma-shaped hole (Figure 2). In the perforated window of the Nanphaya temple, they are more ornately carved with rimmed lotus petals made serially on the pediments of the perforated windows (Figure 3). Fully-blooming lotus flowers are found folded on the lintels of the perforated windows (Figure 4). As these examples show, lotus motifs made of stone and stucco are important ornamentations of the perforated windows of the temples of Early Bagan period. During 12th century AD, lotus motifs were used even more widely and elaborately. Up-turned and down-turn lotus flowers of the Mye-bonethar-hpaya-hla (Figure 5) and the Wetkyi-in-Gubyauk- nge temples (Figure 6) for example, are in high relief and look fresh around the main body. Lotus motifs are carved in the middle of the pillars. Some flowers have angular-shaped petals (Figure 7) and some, circular-shaped ones (Figure 8). Lotus flowers in green and yellow glaze are found on the cornices around the main body of the Sulamani temple (Figure 9). Lotus buds are also made with glaze at the flaming pediments of the Sulamani temple (Figure 10). The lotus flowers and lotus buds in the Middle Bagan period temples are more slender and in higher relief, altogether more elaborate than those of the Early Bagan period temples. As in the Middle Bagan period temple, the stucco lotus was elaborately carved in the 13th century Bagan temples. The amortisements of the corner-pillars of the main body are also more richly ornamented with the lotus flowers. The upper part of the amortisements on the pillars of the Htilominlo (Figure 11), Tha-kya-muni and Narathihapate temples are decorated with ogre-heads with their mouths biting 2 3 lotus flowers with pendant lotus stalks sometimes forming coils (Figure 12). Deva figures (Figure 13) or mythical birds (Figure 14) can be found on the flaming pediments of those temples. One peculiarity is that the friezes at the temple No. 357 (Figure 15), Tha-kya-muni and Narathihapate temple (Figure 16) are connected with strings of lotus petals and beads. Using these examples, the 13th century Bagan temple became more intricately decorated with proportional lotus of different designs elaborately rendered. Conclusion Use of lotus flowers as a sacred motif at the Bagan temples is just to venerate the Lord Buddha whose lives and Dhamma are much related to lotus flowers. The Bagan artists and architects might be motivated by their great devotion to Buddhism to innovate more various lotus designs in decorating the temples. The increase of motifs may reflect the development of patronage accompanying the proliferation of temple building in the later phases of Bagan, the stylistic sources reflecting the widening Buddhist networks of within the region and beyond. Analysis of the chronological changes at Bagan has focused on the architecture, with this paper on the exterior lotus motif adding a new perspective. Fig (1) Lotus on the perforated Fig (2) Lotus motifs on the perforated window of Abeyadanar temple window of Abeyadanar temple 3 4 Fig (3) Rimmed lotus petals on the Fig (4) Fully-bloomed lotus flowers on the pediment and lotus motifs on the lintel of the perforated window at Nanphaya perforated window of Nanphaya temple temple Fig (5) Up turn and down turn lotus Fig (6) Up turn and down turn lotus Up turn and down turn lotus flowers flowers of the Mye-bonethar-hpaya- flowers of the Wetkyi-in-Gubyauk-nge hla temple temple Fig (7) Angular-shaped lotus on the Fig (8) Circular-shaped lotus on the middle of the pillars middle of the pillars 4 5 Fig (9) Glaze lotus flowers on the Fig (10) Glaze lotus buds at the cornice at the Sulamani temple flaming pediment of the Sulamani temple Fig (11) Atmotizements decorated with Fig (12) Ogre biting the lotus flowers and lotus flowers of the Htilominlo temple stalks of the Narathihapate temple Fig (13) Deva figures on the lotus Fig (14) Mythical creatures above the buds at the Htilominlo temple lotus flower of the Htilominlo temple 5 6 Fig (15) Friezes with strings of lotus Fig (16) Friezes with strings of lotus petals at the temple No.357 petals at the Narathihapate temple Bibliography Aung Thaw, U, 1960, "Freizes with Ogres Heads", The Journal of Culture, Volume – III, No-6, January. 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