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The Mandalay Period represents the last
great cultural flourishing of Burmese
art. The period was named after the city
of Mandalay, which served as capital of
Myanmar for a brief period (1860-1885
A.D.) during the reign of King Mindon.
After the Anglo-Burmese Wars, northern
Myanmar was shut off from the coastal
areas that were controlled by the
British. King Mindon founded the new
capital at a sacred site at the foot of
a large hill. The center of the city was
designed in the perfect geometrical form
of a Buddhist Mandala, giving the city
its name. Although this short-lived
kingdom finally fell to the British
forces in 1886 A.D. during the Third
Anglo-Burmese War, the Royal Guilds that
created such remarkable works of art for
the King remained in the city where they
continued to produce sculptures in the
Mandalay style.
This type of standing Buddha is commonly
referred to as the “walking Buddha.”
Apparently, this posture appears to
illustrate certain texts that were
recorded during the Sukhothai period.
Specifically, this form seems to relate
to the Buddha as described in canons
written during the reign of Rama
Khamheng in the late 13th Century. In
the city of Sukhothai, representations
of the walking Buddha were found placed
against the walls of temples. One hand
is traditionally held in the Abhaya
mudra, which symbolizes protection,
benevolence, and peace, while the other
arm hangs beside the body. Sometimes,
one leg is portrayed advancing forwards
of the other, contributing to the
designation of these figures as walking.
This marble walking Buddha portrays the
Sakyamuni holding his right arm in front
of his chest, with his hand forming the
Abhaya mudra, while this left arm
clutches the overhang of his robe. He
stands with both his feet together upon
a short square base. There are remnants
of the original gilding covering
portions of the work, specifically the
robes.
- (X.0234)
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