Panel
ca. 1910-1930 (made)
| Artist/Maker | |
| Place of origin |
Rectangular framed polychrome panel depicting scenes from one of the adventures of Prince Kyansittha son of King Anawrahta (1044-1077). This particular episode involves his mission to the Mon capital of Pegu to escort the princess Manisanda who is to be sent as "a gift of gratitude" to Anawratha of Pagan.
Captions in modern Burmese script help to explain the episodes:
Left top - Kyansittha confronts the gilded barrier which screens the princess Manisanda from the attentions of the men accompanying the mission.
Centre top - Kyansittha opens the barrier enclosing Manisanda and asks the three traditional questions of ceremony.
Right top - The four generals (which includes Kyansittha) are seen returning from Pegu.
Centre right - The four generals arrive at the city of Pauk-kan (Pagan).
Centre middle - Ministers (of Pagan) welcoming the four generals.
Centre left - King Anawrahta questions Manisanda (she is now pregnant by Kyansittha).
It is expressed in a variation of the nan-dwin (King at Court design) where the story is shown in a series of palace pavillions in which the figures are dressed in Mandalay Court Costumes.
Facial features are uniquely detailed and some are red and some white - an indicator of rank. Hairstyles also indicate rank and silver has been used representationally.
Captions in modern Burmese script help to explain the episodes:
Left top - Kyansittha confronts the gilded barrier which screens the princess Manisanda from the attentions of the men accompanying the mission.
Centre top - Kyansittha opens the barrier enclosing Manisanda and asks the three traditional questions of ceremony.
Right top - The four generals (which includes Kyansittha) are seen returning from Pegu.
Centre right - The four generals arrive at the city of Pauk-kan (Pagan).
Centre middle - Ministers (of Pagan) welcoming the four generals.
Centre left - King Anawrahta questions Manisanda (she is now pregnant by Kyansittha).
It is expressed in a variation of the nan-dwin (King at Court design) where the story is shown in a series of palace pavillions in which the figures are dressed in Mandalay Court Costumes.
Facial features are uniquely detailed and some are red and some white - an indicator of rank. Hairstyles also indicate rank and silver has been used representationally.
Object details
| Object type | |
| Materials and techniques | Wood covered with coatings of variously coloured thitsi-lacquer and finely incised in the Pagan yun technique. Some ribbing is left without colour in which to apply silver and gilt high lights. |
| Brief description | Burmese framed wood panel of polychrome Pagan yun (incised) lacquerware.Using the nan-dwin (King at Court) design it is decorated with scenes from Prince Kyansittha's mission from Pagan to Pegu to escort Princess Manisanda back to his father King Anawratha. Saya Sein workshop ca.1910-1930 |
| Physical description | Rectangular framed polychrome panel depicting scenes from one of the adventures of Prince Kyansittha son of King Anawrahta (1044-1077). This particular episode involves his mission to the Mon capital of Pegu to escort the princess Manisanda who is to be sent as "a gift of gratitude" to Anawratha of Pagan. Captions in modern Burmese script help to explain the episodes: Left top - Kyansittha confronts the gilded barrier which screens the princess Manisanda from the attentions of the men accompanying the mission. Centre top - Kyansittha opens the barrier enclosing Manisanda and asks the three traditional questions of ceremony. Right top - The four generals (which includes Kyansittha) are seen returning from Pegu. Centre right - The four generals arrive at the city of Pauk-kan (Pagan). Centre middle - Ministers (of Pagan) welcoming the four generals. Centre left - King Anawrahta questions Manisanda (she is now pregnant by Kyansittha). It is expressed in a variation of the nan-dwin (King at Court design) where the story is shown in a series of palace pavillions in which the figures are dressed in Mandalay Court Costumes. Facial features are uniquely detailed and some are red and some white - an indicator of rank. Hairstyles also indicate rank and silver has been used representationally. |
| Dimensions |
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| Object history | Purchased from Dr. Allan Thompson on RP/89/1990 Produced in the worshop of Saya Sein c.a. 1910 |
| Production | Translation of an inscription on the top border centre and bottom border centre reads: "This article, which is of excellent workmanship, was produced in the sorkshop of Saya Sein, holder of a First Class Prize Certificate. This article was made at Teiksu Quarter, in the city of Pagan, Upper Burma". Attribution note: This panel was probably made for the European market. The nan-dwin (King at Court design) became popular during the second half of the 19th century and continued to be used in the 20th century. |
| Bibliographic reference | Ralph Isaacs & T. Richard Blurton Visions from the Golden Land
British Museum Press 2000; Appendix; p. 230; Pagan; No. 11 |
| Collection | |
| Accession number | IS.78-1990 |
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| Record created | February 12, 2001 |
| Record URL |
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