Earticle

초록

영어

Flourishing in the Central Dry Zone of Burma during a period from the mid-eleventh to the late-thirteenth century A.D., the historical kingdom of Pagan was one of the major Buddhist centers in Southeast Asia. The significance of Pagan as an important pilgrimage site of the region, where numerous relics of the Buddha were enshrined, had been maintained until long after the fall of its civilization. It is evident that the artistic influences of Pagan, particularly in the architectural and decorative domains, had been transmitted to various other Buddhist civilizations in the area. This study provides a detailed analysis on the relationships between the mural tradition of Pagan and those of its neighboring civilizations in Thailand—of the Ayutthayā, Lānnā and Sukhothai schools —dating from after the Pagan Period in the fourteenth century to the sixteenth century. Surprisingly, as the analysis of this study has suggested, such relationships seemed to be trivial, more on a minor stylistic basis than on substantial ideological and iconographic grounds. They suggest that transmission of the complex idea and superb craftsmanship of the mural tradition would not have been maintained adequately at Pagan after its civilization, probably due to the lack of royal patronage. It would have been extremely difficult for foreign pilgrims who visited Pagan after its dynastic period to appreciate the surviving murals of this lost tradition in terms of their complex programs and associated symbolism. Also, there had been a new center of the Sinhalese Buddhism firmly established in the Martaban area of lower Burma since the mid-fourteenth century that outcompeted Pagan in terms of supplying the new Buddhist ideas and tradition. Its fame spread wide and far among the Buddhist communities of Southeast Asia. Later, these Buddhist communities also established direct contact with Sri Lanka. The Sukhothai murals and the Ayutthayā murals in the crypt of Wat Rātchaburana, dating from the fourteenth/fifteenth century, show obvious Sri Lankan influence in terms of artistic style and Buddhist iconography. They could be a product of these new religious movements, truly active in Southeast Asia during that time.

목차

Abstract
 I. Introduction
 II. Murals illustrating numerous Buddhas
 III. Murals narrating the biography of Gotama Buddha
 IV. Discussion
 Acknowledgements
 References

키워드

저자

• Samerchai Poolsuwan [ Professor of Anthropology, Faculty of Sociology & Anthropology, Thammasat University, Phrachan Road, Bangkok 10200, Thailand. ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  수완나부미 [Suvannabhumi]

• 간기

  반년간

• pISSN

  2092-738X

• 수록기간

  ~2020

• 십진분류

  KDC 309 DDC 306