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Betel box (kun-it) in the shape of a mythical karaweik bird from the royal regalia, c1840–85
Gold, rubies, glass
Mandalay, central Myanmar
The royal regalia of Myanmar’s last king, which included this box, was seized by the British during the Third Anglo-Burmese War in 1885. It was finally returned in 1964 to General Ne Win’s government, and this box was then donated to the Victoria and Albert Museum as a thank you for its custodianship. The return of the regalia connected Myanmar’s royal court with the military regime – a form of legitimisation Ne Win was keen to promote.*
From the exhibition
Burma to Myanmar
(November 2023 – February 2024)
From influential superpower to repressive regime, Myanmar – also known as Burma – has seen dramatic fluctuations in fortune over the past 1,500 years.
Experiencing decades of civil war and now ruled again by a military dictatorship, Myanmar is an isolated figure on the world stage today, and its story is relatively little known in the West. However, the extraordinary artistic output of its peoples, over more than a millennium of cultural and political change, attests to its pivotal role at the crossroads of Asia.
Picking up the thread around AD 450, the exhibition explored how Myanmar's various peoples interacted with each other and the world around them, leading to new ideas and art forms. From the 14th century several kingdoms jostled for power and expanded important links with Thailand, China, Sri Lanka, and traders from the Middle East and Europe, creating a fertile ground for diverse cultures to flourish; a coin issued by King Dhammaraja Hussain (r. 1612–22) of the Arakan kingdom, inscribed in Arakanese, Bengali and Persian, shows the wide reach of his trade and political networks.
Rulers in central Myanmar came to dominate parts of the region between the 16th and 19th centuries, becoming the largest empire in mainland Southeast Asia. A stunning gold and ruby-studded letter sent by King Alaungpaya to George II in 1756 speaks to the empire's wealth and power.
Annexation by the British in the 19th century saw tremendous changes impacting art, culture and society – and contributed to the turmoil faced by Myanmar today. The show concluded by exploring how modern-day artists have defied state censors, marrying activism with artistic traditions in expressions of resistance and hope.
[*British Museum]
Taken in British Museum
Betel box (kun-it) in the shape of a mythical karaweik bird from the royal regalia, c1840–85
Gold, rubies, glass
Mandalay, central Myanmar
The royal regalia of Myanmar’s last king, which included this box, was seized by the British during the Third Anglo-Burmese War in 1885. It was finally returned in 1964 to General Ne Win’s government, and this box was then donated to the Victoria and Albert Museum as a thank you for its custodianship. The return of the regalia connected Myanmar’s royal court with the military regime – a form of legitimisation Ne Win was keen to promote.*
From the exhibition
Burma to Myanmar
(November 2023 – February 2024)
From influential superpower to repressive regime, Myanmar – also known as Burma – has seen dramatic fluctuations in fortune over the past 1,500 years.
Experiencing decades of civil war and now ruled again by a military dictatorship, Myanmar is an isolated figure on the world stage today, and its story is relatively little known in the West. However, the extraordinary artistic output of its peoples, over more than a millennium of cultural and political change, attests to its pivotal role at the crossroads of Asia.
Picking up the thread around AD 450, the exhibition explored how Myanmar's various peoples interacted with each other and the world around them, leading to new ideas and art forms. From the 14th century several kingdoms jostled for power and expanded important links with Thailand, China, Sri Lanka, and traders from the Middle East and Europe, creating a fertile ground for diverse cultures to flourish; a coin issued by King Dhammaraja Hussain (r. 1612–22) of the Arakan kingdom, inscribed in Arakanese, Bengali and Persian, shows the wide reach of his trade and political networks.
Rulers in central Myanmar came to dominate parts of the region between the 16th and 19th centuries, becoming the largest empire in mainland Southeast Asia. A stunning gold and ruby-studded letter sent by King Alaungpaya to George II in 1756 speaks to the empire's wealth and power.
Annexation by the British in the 19th century saw tremendous changes impacting art, culture and society – and contributed to the turmoil faced by Myanmar today. The show concluded by exploring how modern-day artists have defied state censors, marrying activism with artistic traditions in expressions of resistance and hope.
[*British Museum]
Taken in British Museum
Newins Ford in Bay Shore did this to my Fiesta! Thanks to the service manger Chet and his deaf buddy Jeff! To make matters even better they made it so my rear door doesn't shut right and I still have the wind noise.
Newins Ford in Bay Shore did this to my Fiesta! Thanks to the service manger Chet and his deaf buddy Jeff! To make matters even better they made it so my rear door doesn't shut right and I still have the wind noise.
Newins Ford in Bay Shore did this to my Fiesta! Thanks to the service manger Chet and his deaf buddy Jeff! To make matters even better they made it so my rear door doesn't shut right and I still have the wind noise.
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1 Comments on Instagram:
uncagedbracelets: Oh, that's by me ;)