Rich tapestry of old Burma and new Myanmar
Burma seen through the lens of history, diverse faiths and unwavering resilience
British Burma File Pictorial Magazine, Vol 1, No 12, 1938 – Vol.1, No. 12, 1938
Unveiled Burma to Myanmar
On the seventy-fifth anniversary of Myanmar’s independence, the British Museum unveiled Burma to Myanmar, a poignant exhibition exploring the country’s rich tapestry of history, diverse faiths and unwavering resilience.
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Though modest in size, the exhibition is charged with contrasting sentiments. Beautiful objects crafted from natural materials portray Myanmar’s cultural and natural richness, symbolising prosperity.
Shell letter, 1907, Mergui (Myeik), Lower British Burma
Simultaneously, the exhibition delves into the country’s tumultuous history, reflecting the impacts of colonialism, World War II and recent military coups.
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Myanmar’s extensive history dates to 200 BC with the Pyu people, encompassing diverse landscapes bordering Bangladesh, India, China, Laos and Thailand.
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The geographically significant country, from the Himalayas to the Thai-Malay Peninsula, includes the Bay of Bengal, the Andaman Sea, and the Gulf of Martaban. Its kingdoms, states, empires and kinship networks have historically enjoyed close connections with the surrounding world.
Belt with cowrie shells and knife sheath, About 1870s–90s, Chin Hills, British Museum
The exhibition attempts to capture the richness and complexity of Myanmar through the lenses of trade, religion and politics.
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The narrative also features a diverse collection of maps from different periods, each serving distinct purposes.
Burmese kings commissioned maps for surveys that reported land use and revenue for tax and military purposes. Some were created for authorities to delineate borders during British colonisation, while others were crafted for portability during wartime escapes.
Shan map, about 1889 – Paper, Shan states, Cambridge University Library
Upon entering the exhibition, a prominent map dating back to 1860, drawn on cotton cloth, immediately captures attention. This map, falling into the first category, intricately marks villages with varying importance and illustrates Myanmar’s landscape – a ring of mountainous terrain surrounding a semi-arid central zone and tropical rainforests in the south.
Myanmar’s extensive history dates to 200 BC with the Pyu people
The country’s diverse topography has long been a repository of valuable natural resources, with locally mined and harvested materials traded globally for over two millennia.
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Amongst these abundant resources, gold stands out, attracting numerous prospectors. However, stringent laws restricted its use to specific social ranks. People used gold for various purposes, such as gifts, tributes between states and communities and religious objects.
Wall hanging (shwe-chi-doe or kalaga) illustrating scenes from the Ramayana, Around 1900–30, Cotton, flannel, sequins, British Burma, British Museum
Adjacent to the map mentioned above a Burmese manuscript inscribed on rolled gold and adorned with twenty-four Burmese rubies, was part of a historical tale.
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In 1756, King Alaungpaya, a pivotal Southeast Asian figure and founder of the last Burmese dynasty, extended a royal diplomatic gesture to King George II of Great Britain.
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This overture graciously permitted the British to utilise a port on the south coast. Despite the letter’s sumptuous materials, King George viewed it as curious but never replied, causing significant offence.
Golden letter from King Alaungpaya to George II, gold and rubies, 1756 – Made in Central Myanmar: mined in the highlands, Photo © Gottfried Wilhelm Leibniz Library, Hannover, Germany
Adding to the golden splendour, a lacquer offering vessel occupies a vitrine filled with treasures crafted from local gold, silver, rubies, jade, amber, marble, teak, lacquer, seashell and ivory.
Myanmar seen through the lenses of trade, religion and politics
This vessel, known as hsun-ok in Burmese, is intricately coiled from bamboo strips and showcases the hmanzi shwe cha style – a technique in which gilded relief work is adorned with coloured glass.
Lacquer offering vessel (hsun-ok) About 1860–90, Bamboo, lacquer, coloured glass, gold leaf, gilded metal sheet, wood Possibly Mandalay, central Myanmar British Museum
The hsun-ok is a receptacle for gifts and offerings to Buddhist monks and monasteries. Objects representing the diverse religions in Myanmar are interspersed throughout the exhibition.
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Myanmar’s abundant natural resources and geographical significance fueled global trade and inspired cross-cultural crafts. However, resource extraction escalated notably during the British colonial period.
Left: Traditional Jingpo ethnic attire adorned with silver ornaments, Right: Green Burmese Python, Soe Yu Nwe (born 1989), 2018, Glazed porcelain, gold, mother of pearl lustre, Jingdezhen, China, British Museum, Burma
Post-independence, conflicts and nationalised industries paved the way for burgeoning black markets. These unregulated practices have yielded massive profits benefiting the military junta, local armies and major corporations.
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In addition to ceremonial vessels designed for religious purposes, the exhibition features a diverse collection of Buddha figures, showcasing various styles and materials that underscore Buddhism’s predominant influence among Myanmar’s religions.
Seated Buddha image, around 1790–1824, Lacquer, wood, gold, textile, shell, Central or lower Myanmar, British Museum
Historically, kingdoms that emerged between approximately 300 AD and 1300 AD, such as Arakan, Thaton and Bagan, maintained strong connections with the Buddhist world, spanning from the Himalayas to India, Sri Lanka and Thailand.
Divination manual, about 1750-1820 – Paper, lacquer, watercolour, ink, gild. Lower Myanmar or central Thailand
Whilst Muslims and Hindus have long coexisted in the country, the 1800s witnessed notable religious diversity, mainly due to British annexation.
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As the Burmese kings lost their political power, they made efforts to fortify their Buddhist roles. In 1871, during the reign of King Mindon, a significant assembly of Buddhist monks was held, with representatives from Sri Lanka and Thailand.
Standing Buddha image, around 1850–99, Wood, lacquer, gold, glass, British Burma, British Museum
Recognising the presence of other religions, King Mindon permitted the construction of mosques in the capital city Mandalay, whilst Western Baptist, Catholic and Anglican missionaries established themselves.
Left to Right: Shiva on his mount Nandi, About 1850, Wood, lacquer, gold leaf, Probably Mandalay, central Myanmar British Museum: Qur’an box, Around 1870–1930, Lacquer, glass, wood, Central or lower Myanmar, Collection of the Asian Civilisations Museum National Heritage Board, Singapore
Various artefacts from this period, including a statue of Hindu deities, a lacquer box with Qur’an inscriptions, and a Bible written in the Burmese dialect, illuminate this dynamic religious history.
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Post the Second Anglo-Burmese War in 1852, King Mindon endeavoured to safeguard the remaining part of his country from colonial control through modernisation.
New Testament in Karen (Sgaw dialect) published by the Karen Mission Press, Tavoy in 1843, translated by Francis Mason, British Burma, British Library
Initiatives included the establishment of factories and mills for rice, iron, cotton, and glass, and the sending of sons of noble families abroad for technical training.
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Notably, the use of glass gained popularity in religious settings. A mosaic intended as a backdrop for a Buddha image or a monk’s preaching seat attests to this period.
Silk ‘escape’ map Early 1940s Possibly British India Imperial War Museum
However, the abolition of the monarchy in 1885 marked a significant turning point, and the head of state no longer served as the protector of religion in Myanmar.
King Mindon permitted mosques alongside Western Baptist, Catholic and Anglican missionaries
Political conflicts have intricately woven themselves into the fabric of Myanmar’s history. After the end of British colonisation, significant events in modern times included the Japanese invasion in 1942 during World War II (1939-45), the 1962 military coup, and the ongoing military control, which began in 2021.
Kammawasa manuscript 1792, Lacquer, gold, cotton cloth, wood, bamboo, Central or lower Myanmar, Royal Asiatic Society of Great Britain and Ireland
The exhibition’s concluding section predominantly features artworks depicting these events through prints, paintings, and photographs.
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The impact of successive military governments since the 1962 coup, coupled with extreme censorship, has been devastating for the population and has taken a toll on the realm of art and culture. A poignant example is the government’s perception that U Thant (1909-1974) was a threat.
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He was, in fact, the well-respected Secretary-General of the United Nations from 1961 to 1971 and a Burmese himself. Upon his death, his funeral received no official ceremony, sparking demonstrations that were consequently repressed with violence.
Glass mosaic surround. around 1870–99, Wood, lacquer, glass, Central or lower Myanmar or the Shan states. On loan from the Russell-Cotes Art Gallery & Museum, Bournemouth
A photograph depicting a refugee camp sheltering Muslim Rohingya who fled from Myanmar also serves as a stark reflection of the government’s violent prejudice against diverse ethnicities and religions.
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In 1989, the military altered the country’s name from Burma to Myanmar, mirroring the exhibition title. This change carries connotations of the legacies of colonialism, decades of civil war and repressive dictatorships.
King Mindon’s procession 1865–78, Paper Mandalay, central Myanmar, British Library
The exhibition culminates with a slideshow capturing protests against the 2021 military coup that has once again plunged Myanmar into violence.
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Amidst the Civil Disobedience Movement (CDM) and other forms of resistance, creating art in Myanmar is a powerful form of rebellion and a reimagining of politics.
Text Yang Jiang / Photo Yang Jiang and courtesy of the British Museum
