Hidden in Plain Sight: the Nat Images of Myanmar

Abstract

Supernatural beings known as ‘nats’ are widely represented in Myanmar art. Until now they have been a neglected area of research, overshadowed by an academic focus on the country’s Buddhist art and architecture. The research for this thesis analyses why the nats are depicted in particular ways, how this has changed over the centuries, and why they are placed in certain contexts. Close examination of primary sources highlights the disconnect between Western and local understanding of the different kinds of nat and their role in Myanmar culture. Clarification of the different typologies of nat is a crucial part of the research. The findings presented highlight the limitations of the resources currently available on the nats, and dispel the misconceptions and ambiguity around the different types. This is particularly important in relation to the pantheon generically known as the ‘Thirty-Seven Nats’. For the first time, a formal art historical analysis of the imagery of Myanmar’s nats is provided. Images of the nats are examined in light of their different typologies, to identify the iconography used in their creation. An analysis of the stylistic development of nat imagery from the 11th century is established for the main media used in their artistic representations. It is argued that the different typologies of the nats reflect their fundamental role as guardians spirits of very different physical and conceptual spaces. Art is used to frame this narrative, and as nats have been made in such a wide variety of media and across all time periods, their imagery reflects how devotees have interacted with their temporal and spiritual worlds throughout history.