Ways of Seeing a Pyu, Mon and Dvaravati Artistic Continuum

Abstract

During the last 100 years artistic relationships between the Pyu and Mon of Burma and the Dvāravatī Mon of Thailand have been frequently hinted at yet until recently these ideas had not been explored further. In light of contemporary research, and in particular, relatively stable access to Burma, there is renewed interest in the cultures which inhabited the region extending from Upper Burma through Lower Burma and into central and south-west Thailand during the first millennium CE. Conventionally viewed as distinct cultural groups, on reappraising archaeological and historical research associated with the Pyu, Mon and Dvāravatī it is now suggested that these communities were more closely linked than traditionally thought. The art from these regions supports this. Buddhism was the common catalyst for visual culture and the artistic repertoires of the Pyu, Mon and Dvāravatī share many similarities. Examination of themes and styles which appear in the art of these cultures indicates there was a flow of ideas back and forth across the region, and likely beyond. The apparent openness of these groups to the integration of new ideas offers insight into the patterns of knowledge exchange and challenges preconceived notions of cultural division throughout this large region of mainland Southeast Asia.