Arakan: - One Who Preserves and Takes Care of Their Own Nationality. |
Publication by Arakan Action Association (AAA.) |
The Buddhist Art of Ancient Arakan |
By U SAN THA AUNG |
PREFACE
The Arakan State is situated on the boundary of Bangladesh and Burma. It is a constituent unit of the Socialist Republic of the Union of Burma. It is separated from Burma proper by a range of barrier against inter-communication between the people living on either side of it. Though descended from the same stock, worshipping the same faith and speaking the same language as the Burmese, the Arakanese have witnessed the flowering of a distinct culture, and have preserved a distinct dialect.
In olden days, Arakan was a thriving, independent ancient border state beyond ancient India. Situated east of Vanga and Sematata. Indologists, writing about the history and culture of ancient India, never mentioned this area where high standards of living, culture and art flourished. The present work is an attempt to fill the missing link between ancient India and Burma proper by presenting a few aspects of the rich cultural heritage of Arakan.
Images in stone and bronze, representing the Buddhist Art of Ancient Arakan (before 1000 A.D) are presented in this book.
A Fat Monk image, miniature stupas, a tablet of auspicious symbols, dedicatory inscriptions fallen out of old ruined stupas and caityas, a relief sculptures found on the platforms of the Mahamuni Shrine are all sculptured out of, or inscribed on stones.
The miniature cetis (caityas), bells, lamps and numerous Buddha images, crowned and uncrowned, are all made of bronze. These bronze artifacts provide evidence of all made of bronze. These bronze artifacts provide evidence of a flourishing school of bronze castings. The time of casting ranged from the 5th century A.D. to the 10th century A.D.
I have presented many varieties of bronze Buddha images, both crowned and uncrowned, of Arakan having different gestures. I have also explained these gestures one by one. Any one who is interested in Buddhist iconography, I hope, will be able to find in the images I have presented, new types and variations till now unknown to them, and also remarkable affinities with those that they are more or less familiar with. In both cases, I fervently hope that, a really interested mind will have much to take delight in.
These Buddha images, covering a period of nearly five hundred years, recorded the artistic achievements of bronze-casters from the period of experimentation ( 5th century A.D) in the well modeled graceful figures of the last period. The metal caster's art, especially in the fashioning of crowned Buddha images, remained throughout at a high level. The pictures of these images, which I have presented in this book, amply testify to the truth of my remarks.
Although the Mahamuni Sculptures represented the earliest group of the Buddhist Art of Arakan, they are described in the last chapter of the book for reasons which will become apparent after reading the Chapter on “Buddhism in Arakan”.
I want to record my gratitude to those who assited me in one way or another in writing this book. To Sao Hso Hom formally of the Higher Education Department, for the pains he took in carefully reading the whole text and suggesting many corrections.
To U Tin Oo, Chief Editor, Universities Translation and Publication Department, my friend and colleague, I am very deeply indebted for preparing all the photographic works in this book. The publication of this book would not have been possible without his generous help.
To U Thaw Kaung, Librarian, Universities Central Library, for all the help he kindly gave me in searching for reference materials.
To Daw Sein Sein New of the University Correspondence Courses Department for typing the whole manuscript.
SAN THA AUNG September, 1979. |
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