Burmese Design & Architecture by John Falconer, Elizabeth Moore, Luca Invernizzi Tettoni,

By John Falconer, Elizabeth Moore, Luca Invernizzi Tettoni, Alfred Birnbaum

The Burmese culture of structure, paintings and layout is historical, varied and fantastically wealthy. a mirrored image of a civilization unbreached by way of ecu powers for 3,000 years and motivated through China to the north and India to the West, Burmese layout is interwoven with religious, non secular and political messages. it is just now that this custom is coming to be preferred by means of Western scholars of structure and design.Burmese layout and structure will deepen and improve that appreciation, for this is often the 1st ebook to seize the complete span of Burmese layout, from arts and crafts to structure, from the huge pagodas of Bagan to the architectural historical past of up to date Rangoon. masking either non secular and secular layout, this booklet bargains professional insights supplied via best archaeological specialists during this box. With 500 full-color images, this can be a significant work-and a must have for critical connoisseurs of structure, layout or Burma itself.

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Many have Mon inscriptions, but the term is also used to describe a love of dark and mysterious interiors. This is an aesthetic and qualitative judgement for which evidence is lacking. The one-storey temples have a very different atmosphere from the later two-storey structures. However, we cannot be sure this is a reflection of Mon taste at the time. Mons, Pyus, and Burmans all contributed to the architecture, sculpture and mural paintings which illustrate admirably the cosmopolitan life of the ancient city.

Details drawn using a white steatite crayon on a "black" parabaik or folding manuscript illustrate the importance of roofs in Burmese religious architecture, including the many variations of the multiple-storied pyat-that. Black parabaik were folded accordion-style with the long strips of handmade paper made from the bark of the mulberry tree. The paper was then coated with a mixture of powdered charcoal, rice water and animal hide glue. The coating process allowed the parabaik to be re-used several times.

Here the large rounded head of the Buddha sits firmly on rounded shoulders. Earlier images had V-shaped faces, pointed chins, slender necks, broader shoulders. The same skill may have formed part of the Mon contribution to Bagan. When King Anawratha captured the southern Mon port of Thaton in the 11th century, he brought Mon artisans to Bagan. The 10th-early 12th-century one-storey temples of Bagan are often called "early" and labelled "Mon". Many have Mon inscriptions, but the term is also used to describe a love of dark and mysterious interiors.

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