Chief Tangkhul Tribe, Naga  

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The chief (standing right) and one of the other village leaders show off their ceremonial dress. The other Naga man has one of the red seed headdresses, as shown earlier post.
Tangkhul Tribe
Place - Lahe , Burma.

credit: Mark A.Johnson

Tangkhul Tribe, Naga  

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Classic Naga face

a fantastic headdress
made with red seeds.
Tangkhul Tribe
Place- Lahe, Burma.
credit: Mark A.Johnson

Nokaw Tribe Naga  

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Great necklaces!!
bronze bells,
brass heads,
and tiger teeth.
Nokaw tribe
Lahe , Burma.

credit; Mark A.Jhonson

Naga Konyak or Wancho Tribe  

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Beautiful tattoos,
earplugs made with horn,
wood and shell hair plank,
nice hat with boar tusks.
Lower Konyak or Wancho tribe
Place- Lahe,

credit :
Mark A. Johnson, who is the best in tribal art collector, researcher and dealer for SEA tribal art.

Naga Tribal Art  

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Weaved Rattan attached with monkey skull, decorated with boar tusks on each side and feather on top.

Kylyo-Kengyu Tribe,

Canework: 25 cm high, total height includ. stand: 102 cm.

Credit to :

Betel box and stand  

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Object-Betel box and stand
Date-3rd quarter 19th century
Techniques-Filigree work in gold on a gold ground, outlined with bands of rubies and imitation emeralds, with some embossing; eyes of rubies (one now missing)
Place-Mandalay (City), Burma

Height 41.5 cm
Length 35.5 cm
Width 18 cm
Current Location-Victoria & Albert Museum
Museum number-IS.246&A-1964

This gold and jewelled container once formed part of the regalia of King Thibaw, the last Burmese king (r.1878-1885). The karaweik, a mythical bird, is a symbol of longevity. The container was used at the royal palace at Mandalay as part of a betel paraphernalia set. The offering of betel--a mildly narcotic chewing quid--was an essential element of traditional Burmese society. Every household, including the royal family's, had a set of utensils for its preparation. Betel leaves, used to wrap the blend of areca-nut shavings, lime and spices, were stored in the karaweik container.

This object was given to the Museum by the Government and people of Burma in generous recognition of the Victoria and Albert Museum's safekeeping of the Burmese royal regalia from 1886 to 1964.

1850 Hta-mein ( Woman Skirt )  

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Object-Woman's skirt / Hta-mein
Date- ca. 1850
Techniques- Silk luntaya ('100 shuttles' interlocking tapestry weave) cloth, cotton muslin and plain cotton weave

Length 140 cm
Width 116 cm
Current Location-Victoria & Albert Museum
Museum number-9757(IS)

This is a beautifully patterned cotton and silk wrap-skirt known as a hta-mein. Dating to before 1855, it would have been worn by a fashionable Burmese woman on festive occasions. She would have worn it overlapping slightly in the front, revealing a portion of her leg as she walked. It would have formed an ensemble, with a fitted jacket, open in front, known as an ein-gyi, under which she would have worn a
yinzi (breast cloth). Typical of hta-mein, the central area is the focus of decorative interest and displays the unique '100 shuttles' interlocking tapestry weave known in Burmese as acheik-luntaya in lime, navy, yellow and white on a coral background. From this flows a striped coral train--the graceful management of which would have been an acquired skill.

1885 Breast cloth or stole ( Yinzi or tabet )  

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Object-Breast cloth or stole,Yinzi or tabet
Techniques- Silk luntaya ('100 shuttles' interlocking tapestry weave), with double or triple weft threads in the acheik section and single threads in the end borders
Place-Mandalay (City), Burma

Length 244 cm
Width 29.2 cm
Current Location-Victoria&Albert Museum
Museum number-IM.10-1909

This silk dress piece was woven on a hand-loom in repeating twisted rope and leaf filled wave patterns in yellow, white and gilt threads against a red ground. It is an example of the renowned, and uniquely Burmese, textile known as the acheik-luntaya. This garment would have been worn as a breast cloth, forming an ensemble, as shown, with a wrap skirt (9756 IS) and jacket (5623 IS).

The garment dates from the reign of King Thibaw (r. 1878-1885), the last ruler of the Konbaung dynasty. It was found in the apartment of Queen Supayalat, the chief queen of King Thibaw, by the donor's husband, Colonel Pollard, who was a member of the British force that annexed upper Burma in 1885.

1850 Burmese woman's skirt  

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Object-Woman's skirt, Hta-mein
Date- ca. 1850
Techniques- Silk luntaya ('100 shuttles' interlocking tapestry weave) cloth and cloth of plain cotton weave

Length 145 cm
Width 106 cm
Current Location-Victoria & Albert Museum
Museum number-9756(IS)

This beautifully patterned cotton and silk wrap skirt known as a hta-mein, dating to before 1855, would have been worn by a fashionable Burmese woman of the time on festive occasions. She would have worn it overlapping slightly in the front, revealing a portion of her leg as she walked. It would have formed part of an ensemble, as depicted, with a jacket (5623(IS)) and a breast cloth (IM.10-1909). Typical of hta-mein, the central area is the focus of decorative interest and displays the unique horizontal wave patterned "100 shuttles" interlocking tapestry weave known in Burmese as acheik-luntaya in greens, blues, yellow and white on a red ground. From this flows a striped pink train, the graceful management of which was an acquired skill.

1860s Burmese woman's jacket,  

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Object-Woman's jacket, Ein-gyi
Date- early 1860s
Techniques- Cotton, embroidered and hand-quilted with yellow silk
Length 70 cm (shoulder to hem)
Width 37 cm (across shoulders)
Length 50 cm (sleeve)
Current Location-Victoria & Albert Museum
Museum number-5623(IS)

This neatly tailored white cotton jacket, flaring gently over the hips with its distinctive triangular headed pendants, would have been worn by a fashionable Burmese woman during the second half of the nineteenth century. It was obtained in 1867 from Prome, a town in central Burma lying on the Irrawaddy River, which had recently fallen under British control. Britain annexed Burma stage by stage through the 19th century until in 1885 the entire kingdom came under British rule. Known as an ein-gyi this jacket is embroidered and quilted in yellow silk with wave and twisted rope patterns typical of Burmese design. It would have formed an ensemble, as shown, with a wrap skirt (9756 IS) and breast cloth (IM.10-1909).

15th C Glazed Ceramic Tile  

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Glazed ceramic tile

From Burma (Myanmar), 15th century AD

Height: 20.000 inches

Gift of Cyril Newman

Current Location: British Museum, London

Asia OA 1965.12-17.1

Demons from the army of Mara defeated by the Buddha

This glazed ceramic plaque depicts two ass-headed demons from the army of the god of death, Mara. While the Buddha was meditating under the bodhi tree at Bodh Gaya, Mara sought to prevent him from attaining enlightenment. He sent armies of demons to dislodge the Buddha by force, and his beautiful daughters to try and tempt the Buddha from this meditation. Finally, the Buddha called upon the Earth-goddess to witness his claim to enlightenment. The Earth shook and Mara fled. Seated Buddha images touching the earth (bhumisparshamudra) refer to this event, and are very popular in Burmese and Thai art from the eleventh century.

Glazed pottery tiles were used on temples at the Burmese capital at Pagan (about 1044-1287). They depicted scenes from both the jatakas (the stories of the previous lives of the Buddha) and the Buddha's life. This tile is of the type placed in niches at the Shwegugyi pagoda at Pegu, built in the later fifteenth century in lower Burma. Other tiles depict pairs of women who came to seduce the Buddha, illustrating the events described above. Pegu was the capital of the Mon kingdom of lower Burma between 1369 and 1539. The Shwegugyi temple and its shrines was built to replicate the topography of the Mahabodhi temple at Bodhgaya, the site of the Buddha's enlightenment. It was one a number of copies of the Mahabodhi temple built in Burma and Thailand between the thirteenth and fifteenth centuries.

W. Zwalf (ed.), Buddhism: art and faith (London, The British Museum Press, 1985)

18th C Silver Ingot  

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Silver ingot

Burma (Myanmar),

18th century AD

57.000 mm
Weight: 101.500 g

Current Location-British Museum, London

CM 1892-10-8-11

Gift of Major R.C. Temple

Flower money

During the 18th century the monetary system in Burma was based on weighed amounts of silver. The currency was made by merchants under licence from the king. The most common form of silver ingot was a disc with flowery patterns across its upper surface. This pattern was formed by the cooling process used after the ingots were cast: the silversmith blew on each disc through a straw and the pattern only formed if the silver was of sufficient purity. In this way the flowery pattern was a mark of pure silver. The silver flower ingots were not made to be of a particular weight, but were used in payments according to their weight. If the ingot was too large, it was simply cut to size. If too small, extra pieces of silver were cut from another ingot. J. Williams (ed.), Money: a history (London, The British Museum Press, 1997)

Hat Si-bon  

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Object- HatSi-bon
Date-3rd quarter 19th century
Techniques-Velvet, with silver-gilt tinsel, gold braid and silver-gilt openwork
Dimensions- Circumference 62 cmHeight 26 cm

Current Location - Victoria & Albert Museum
Museum number- IPN.2633

This head-dress, known as a si-bon in Burmese, formed part of the ceremonial costume worn on state occasions by a senior female member of the Konbaung Court, such as a minister's wife, in the second half of the 19th century. This si-bon of black velvet is edged with gold and decorated with gilt tinsel flower heads and surmounted by a gilt openwork finial. It is shaped like a close fitting cap and would have covered the ears. It lifts slightly at the back to allow for a coil of hair. Strict sumptuary laws applied to every aspect of life at the court of the Konbaung Dynasty (1752-1885). This head-dress would have been worn at a key event at which prince's ministers and their wives appeared in costumes which defined the rank they had been awarded by the king. Its style, decorative elements and the robe with which it was worn would have established the wearer's position within the hierarchy of the Konbaung Court


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Date- before 1880
Techniques-Lacquer, wood and sheet metal, gilded and inlaid with pieces of glass
Dimensions-Height 36.8 cm , Diameter 21.6 cm

Current Location - Victoria & Albert Museum
Museum number-06207(IS)
The high quality of this magnificent gilded, lacquer tiered headdress studded with brilliants was most likely a product of the court of Mandalay. Its shape is highly conventional and is similar to the crowns worn by Jambhupati Buddhas, royalty and minor deities. It was probably intended to be worn by an actor impersonating the king of Celestial Beings in a court pwe (theatrical production), and would have formed part of a costume based on 19th century ceremonial dress worn by Burmese kings on state occasions. The first Burmese court play was written in the early 18th century, and both puppet plays and theatrical performances with actors became very popular throughout Burma in the 18th and 19th centuries. These plays were usually linked to an incident from Burmese history or were based on one of the Buddhist Jatakas (stories about the Buddha's previous incarnations).

7th C Pyu Sculpture  

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Date-after 7th century

Techniques- Stone
Dimensions- Height 35.5 cmWidth 17.8 cmDepth 7 cm

Current Location - Victoria & Albert Museum
Museum number-IS.14-1983
This low relief of the Buddha with a monk's begging bowl in one hand and the other hand in the earth-touching posture (bhumisparsamudra) has the unadorned simplicity associated with the Pyu style of central Burma (now Myanmar). This image is related to a later series decorating the base of Yahandagu pagoda at Sri Ksetra, a monument which dates to the 10th century, immediately preceding the sacking of Hmawza (also known as Prome) by the forces of Pagan in the 11th century.

12th C Bangan Buddha  

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Date-12th century
Dimensions-Height 14.5 cm

Current Location- Victoria & Albert Museum
Museum number-IS.35-1988
This seated figure of Buddha is in the Pagan style. The art of Pagan was mainly devoted to Theravada Buddhism, which found its chief means of expression through the Buddha figure. Seated images often show him in meditative posture with the soles of both feet uppermost (vajrasana), against a semi-architectural background which sometimes includes two birds facing outwards and holding a sprig of foliage or a string of jewels in their mouths. Crowned figures also make their appearance for the first time during this period. Pagan is one of the most remarkable religious cities in the world. Between the conquest of Thaton in 1057 until Pagan was seized by the forces of Kublai Khan in 1287, about 13,000 temples, pagodas and kyaungs, and other religious structures were built at the site, a vast plain in central Burma (now Myanmar).

11-12th C Voltive tablet  

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Object-Votive tablet
Title-The Twin miracles
Date-11th century-12th century
Techniques-Terracotta, deeply impressed from an intaglio mould
Place-Pagan, Burma
Dimensions-Height 7.375 inWidth 5.375 in

Current Location-Victoria & Albert Museum
Museum number-IM.305-1921

This clay votive tablet, reportedly found at Tagaung, Pagan, northern Burma (now Myanmar), depicts the Buddha seated beneath the tower of the Mahabodhi temple at Bodh Gaya, in eastern India. He is seated in the lotus pose with his right hand in the gesture of touching or witnessing the earth (bhumisparsa mudra), the gesture which more than any other represents the moment of his enlightenment. He is flanked by standing figures of the Dipankara Buddha on the left and of Maitreya Buddha on the right. The branches of the Bodhi tree, under which the Buddha achieved enlightenment, branch out from the central niche. In the upper part of the tablet are a number of small votive stupas (the funeral mound which housed the Buddha's relics and which became the symbol of his transcendental form and the primary Buddhist momument). At the bottom is the single line of a Buddhist prayer in the devanagari script. Clay votive tablets of the Buddha, quotes from Buddhist texts, and divine figures represent a significant element of the archaeological record of early Buddhist sites in South East Asia

9-10th Century Votive seal  

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Object-Votive seal
Date-9th century-10th century
Techniques-Elliptical buff clay
Dimensions- Height 9 cm, Width 7.8 cm, Diameter 2.5 cm
Current Location - Victoria & Albert Museum
Museum number-IS.130-1999

This votive seal shows a seated Buddha expounding the law. It originated in Prome, Burma (now Myanmar), and dates to the Pyu period (9th to 10th century).