Srikshetra: Sculpture

Srikshetra, in comparison to other Pyu sites, is unusual because of the greater number as well as complexity of the images and artifacts that have come to light. The diversity is found not only in subject matter but in iconography as well. Also, objects were created by a variety of techniques and media: for example, carved stone, cast bronze, gilded repousse silver, beaten and repousse gold, inscribed copper, engraved gems, molded and inscribed clay. Consequently, the artistic diversity of the Pyu Period is scarcely rivaled by later periods in Burmese history where the number of objects available for study is vastly larger. A number of Pyu art objects and artifacts are unique or occur only during this Period. In contrast, objects from later periods are often repetitious so that by the nineteenth century, Buddha images are almost always shown in a single iconographic mode, that of “earth touching” or “calling the earth to witness”.

The sculpture from Srikshetra can be divided into categories according to religious affiliation although the characteristics of some objects such as Pyu coins may be equivocal. The sculpture will be discussed here according to religion: Theravada Buddhist, Mahayanna Buddhist, Hindu, Animist and Secular.