Preface

Tome, Myanmar is a special place that I hold dear in my heart. Although I was not born there nor ever lived there, the affinity is bewilderingly strong. I remember the first time I ran my hands ran through a vintage Burmese luntaya acheik silk tube skirt a mysterious sensation filled my mind. Later, when I started traveling to Myanmar on a regular basis in 2010, a peculiar feeling would overtake me every time the plane touched down on the runway in Yangon or Mandalay. The aeriel view of rice fields, clusters of villages and buildings interspaced with the gleaming golden pagodas under the sunlight created a warm feeling in my heart. A passion for this land, its culture and history was accompanied by an untamable curiosity. I spent days reading and sifting through any information I could find. Old photographs were the windows that could transport me back in time to provide an instant glimpse of what the old Myanmar was like.

The political upheavals and the seemingly never-ending conflicts in Myanmar have left me with a deep melancholy and sympathy for all the people there. The conversations I have had with Myanmar friends who left the country after the recent coup in 2021 gave me a feeling of déjà vu, as it recalled the situation I read about in many memoirs of Burmese who fled the country after the military coup in 1962. Except this time, it is eyewitness testimony directly shared with me from those whose lives have been shattered by the situation. Although the Burmese people are renowned for being compassionate and resilient, half a century of suppression, a brief period of hope and then turmoil yet again, has left them full of despair.

This book, Unseen Burma – Early Photography 1862-1962, is my tribute to this wonderful country and her people. Old photographs spanning one hundred years provide proof of its past glories. In this digital age, countless photos are taken daily, yet how many will be treasured in the next century. Faces of people who are long gone, traditions and lifestyles that are forgotten in the modern world, and landscapes that are now altered, these photographs are a treasure trove that I would like to share.

While writing and researching this book, I felt very inspired, and often, in my imagination, was transported back in time to when the photos were taken. I could not help but wonder what life was like back then and I realised that each photo surely has its own story to tell. The understanding of the social context, the interactions between the subjects, the clothing worn, or the objects present in the photograph all help us to decode the image. Certain things are obvious, yet some need careful interpretation and imaginations. In my research, I relied on colonial English sources, local publications during the Independence time, as well as contemporary academic works from experts.

I mainly use the terms ‘Burma’ and ‘Burmese’ as they reflect the period when the photos were taken.

My publisher and I were in accord on the need for detailed captions for each photo. Long captions help bring these old photos alive to tell their own story and allow present-day readers to immerse themselves in bygone days. The period covered is like a time capsule which was sealed off in 1962, There then followed a half century of isolation, which reopened for merely a decade, only to be closed off again with an uncertain futue. I hope that this collection of photos will help to preserve the history of Myanmar and her valuable culture for future generations.

Bangkok, November 2022

1.15 Panchet Wun (Maung Shwe O)

Panchet Wun was a lesser-known but able Burmese minister. At a young age, he was a protégé of Prince Kanaung (King Mindon’s younger brother and also an heir apparent). In 1859, he was sent to study in Paris with the sponsorship of the court. Upon arrival, he was presented to Napoleon III then admitted to l’École des Arts et Manufactures. He graduated in 1866 with a degree in civil engineering from l’École Centrale. After returning to Burma, he served as a judge and was later appointed Deputy Minister of Glass Manufacturing. During his tenure, he acted as interpreter for several foreign diplomatic missions/visits to the Burmese court and in 1872, was appointed as the Second Deputy Envoy in the diplomatic mission to London with Kinwun Mingyi.

From foreign visitors’ notes, he was often admired as a well-polished, educated, and well-mannered person, fluent in both French and English; truly a fine Burmese gentleman of his time.

In 1879, he was sent to Paris again by King Thibaw to arrange the admission of Burmese state scholars to technical institutes in France. Then, he visited Italy on the way home, when this cabinet portrait must have been taken.On the back, his full title was written both in Burmese and English. It reads ‘Pageit Woon Maha Mingiou Rajah’ and records his appointment during this mission as the ambassador extraordinary of H.M. the Emperor of Burma.

This photo was taken during a diplomatic mission to Calcutta in 1875. The mission was organized towards the end of King Mindon’s reign and was led by Kinwun Mingyi. The main aim was to restore the relationship with the British after the earlier missions to London were unsuccessful. The group met with the Prince of Wales (the future King Edward VII) on the 27th December in a reception at Government House.

The prince was on a tour of the Indian Empire. Kinwun Mingyi is seated in the center of his team of Burmese high-ranking officers. The Englishman on his right was Major McMahon, the political agent of the British Indian Government at the court of Mandalay at that time.

Last

Ma Htway Lay (1867-1927) had a blue-blooded pedigree as the great granddaughter of King Bodawpaya (r.1782-1819) . At twelve, she served as the junior maid of honor to Queen Suphyalat, the last queen of Burma. Soon, however, her gifts for singing and dancing began to shine and she became the junior prima donna of court theatrical performances, especially for her skill in mimicking the dancing movements of marionettes, the most popular form of performance in the court at that time.

After the annexation, despite the lack of court patronage, Ma Htway Lay transformed herself into a professional dancer and became extremely famous. Her flexible body allowed her to create impressive and graceful movements. Her most renowned repertoire was the Kinnari (mythical creature, half human-half bird) dance depicting the flight scene. Throughout her career, she remained on a pinnacle and was associated with Mandalay, the last royal capital. She also had the honour of performing for Their Royal Highnesses, the Prince and Princess of Wales during their visit to the city in 1906 (3.96-8)

Both portraits were taken in the Felice Beato studio. In the left one, likely taken at the end of the 19th century, she looks extremely poised, resplendent in court attire (htaing ma thein), with a close-fitting embroidered jacket and a front opening trailing skirt. Sumptuous jewelry and neat hair bun bedecked with flowers completed the look. The right photo was likely taken in the early 20th century and shows her in full Kinnari costume, her signature performance. The wings attached to both arms are visible as she poses as if poised for flight.

1.27-8 Yin Daw Ma Lay

Circa 1890s / 8 x 14 cm, 9 x 14 cm / Felice

Yin Daw Ma Lay was another famous and much-loved dancer at the Mandalay court. Her career reached its peak during the reign of King Mindon when she became the prima donna. Her youthful face and petite build endured throughout her career. Sir George Scott when describing Burmese dances, referred to Yin Daw Ma Lay as follows:

“Chief among them was the Yindaw Ma Le, the Mandalay Diva, who was known to every English official or man of importance who visited Mandalay during the twenty years before the annexation.”15

During the last reign, royal favour turned to other dancers, but she was still highly regarded among the court circle. After annexation, her last formal appearance was during the celebration of Queen Victoria’s Golden Jubilee in 1887.

In both portraits, she has her hands in a dancing gesture. The fan was incorporated into dance after the fall of the Mandalay court. The large number of pearl necklaces gives her a highly dramatic look. In the first picture (1.27), she wears court-style dress (htaing ma thein) while in the other, she is in magnificent court style regalia. The costume was embellished with superb embroidery using metallic threads and sequins. This outfit recalls her performance as Princess Busapa from the I-naung Zat (the Burmese derivation of the Siamese romantic drama I-nao, a story inspired by the Javanese folktale), one of her famous roles.

Sao Mawng (1860s-1926) was the Shan ruler of the principality of Yaunghwe (currently known as Nyaungshwe) during the second half of the nineteenth century.Yaunghwe was one of the most important southern Shan States with the administrative capital at Taunggyi. The state included the famous Inle lake. As with other Shan princes, as a young boy, he was sent to Mandalay palace to live under the guardianship of the Burmese king, a traditional gesture of a tributary state to its suzerain. He later became an adopted son of King Mindon and knew the royal children including Prince Thibaw and Princess Suphayalat (later King Thibaw and Queen Suphayalat).

His reign in Yaunghwe covered two different periods – during Burmese rule (1864-1885) and under British rule (1897-1926). Sao Mawng was an able ruler whose reign brought peace and prosperity to the town. He attended the Delhi Durbar both in 1903 and 1911 and was later awarded KSM (Kyet Thaye Zaung Shwe Salwe Ya Min = Recipient of the Gold Chain of Honour) in 1901 and KCIE (Knight Commander of The Most Eminent Order of the Indian Empire) in 1908. He was also accorded a nine-gun salute. His presence among other Shan chiefs during the royal visits to Burma of Their Royal Highnesses The Prince and Princess of Wales (later King George V and Queen Mary) in 1906 (3.88) and His Royal Highness The Prince of Wales (later King Edward VIII) in 1922 was widely recorded in various news reports and photographs.

After the British annexation, he was instrumental in raising funds as well as leading the elites in the local community in restoring important religious monuments around the base of Mandalay Hill including the worldrenowned Kuthodaw pagoda which had been damaged during the pacification period.

1.32 Sir Sao Mawng, the Ruling Prince of Yaunghwe

Late 19th century / 21 x 27 cm / Philip Klier

The young prince looks somewhat exotic, having garbed himself in a Chinese imperial dragon robe, possibly a gift sent by the representative of the Chinese emperor to Shan rulers as a diplomatic gesture. In the foreground are various items of regalia. Rosary beads in his hands signify his interest in Buddhism and that he is a learned and virtuous ruler. This photo was later commercialized and turned into a postcard by Philip Klier’s studio, labeled as ‘A Shan Chief’.

1.33 Sir Sao Mawng, the Ruling Prince of Yaunghwe

Circa 1920s / 20 x 27 cm / D.A. Ahuja

Here, despite his age, the prince looks resplendent in sumptuous Shan-style royal robes decorated with rich embroidery work. Adornments of jewellery and various royal decorations further enhance the regal impression. The badge of KCIE (Knight Commander of Companion of Indian Empire) in a five-petalled flower with an image of Queen Victoria, the founder of the order, is worn in the center. This photo is part of a set which includes one in a standing pose. The photographic portrait shown here also served as a model for several paintings by local artists. One can be seen hanging at Yadana Man Aung pagoda in downtown Nyaungshwe. The very same robe has been conserved and is now kept in the Yaunghwe old palace museum.

1.67 - A bejeweled Burmese Beauty

1920s / 14 x 20 cm

This portrait of a well-off Burmese lady shows off her sumptuous jewelry to the full. For Burmese ladies, jewelry was an indispensable part of their everyday appearance. Even those with lower incomes, would always wear something, whether earrings or bangles. However, when dressing up, particularly for those who could afford it, wearing jewelry was essential. The artist has intentionally tinted all the jewelry pieces to accentuate them and they complement her red lips and pink cheeks.

The high, tubular hair bun is pierced evenly with six ‘sa doh’ – a hairpin set with a single large gemstone. Around the base of the bun, a decorative golden comb‘shwe bee’ has been inserted horizontally and below that a jeweled strand fashioned like a floral vine. On the left, is a ‘sein pan gaing’ – a gold hair pin with dangling strands set with diamonds. A pair of ‘na gat’ stud earrings are also visible. Around her neck are several strands of ‘lae gat’ – choker-style necklaces – and a ‘lae tong’ necklace with with series of dangling pendants. The whole is completed by long gold necklace ‘swae gyo’, which would have had a big pendant (not visible here).

1.68 - A Burmese Actress

Late 1920s / 9 x 14 cm

Burmese female actresses were known as ‘minthamee’ (the term also means a ‘princess’). This portrait of Khin Khin Ye offers an intriguing closeup of a beautiful actress of her era. Changes resulting from western colonization, not only affected Burma at a macro level but also influenced entertainment, fashion, and lifestyle.

The ideal of actress beauty shifted significantly from the later 19th century court style (1.40) to a new bolder look. The influence of western actresses from silent movies, popular among upper-class expatriates in Rangoon, is very evident.

Apart from the gigantic upright tubular hair bun, her thick white makeup is accentuated by well-defined eyebrows and eyes highlighted with sharp eyeliner, a style uncommon in traditional Burmese makeup. Note too how her lower lip is only half painted in order to appear small and pretty, possibly inspired by the notion of ‘rose bud lips’. The formerly square forehead hairline (maha napu), considered auspicious and a distinctive features of Burmese court style has been superceded in favour of tendrils of hair covering the hair line.

Heavy makeup was needed in early films as cameras were not as sharp and bold makeup helped faces to stand out from blurry, unfocused backgrounds.

Though affected by the Second World War and the Great Depression, during the first half of the 20th century, the notion of being modern, fashionable and cosmopolitan remained important in major cities and towns of colonial Burma. Such ideas were often expressed in photographs taken at that time. Increasing local patronage of photographic studios records how ideas concerning female beauty and fashion changed during this period. In hairstyles, the low and flat hair bun was transformed into the high cylindrical form, sculpted up with extra tresses of hair. In dress, the cylindrical tube skirts and loosepatterned blouses fastening either at the front or the side were more widely adopted.

In the following photos, the ladies’ poses are assumed to have been chosen by them as they were now the clients, rather than just the models. Prints of these photos would have become prized possessions. The photos show how the poses developed, following western styles, from serious and stiff looking to more relaxed and almost sensual. How the subjects interacted with the furniture and props also became more natural.

This portrait shows the typical combination of loose blouse, widely popular since the turn of the century, and the more traditional front-opening, wraparound skirt ‘htamein’, which was so common at this period. The young woman contrasts nicely with the painted western-style backdrop, the chair and the big jardiniere of Begonias behind her.

2.9 Sawbwa of Thaungdut and Followers

Early 1890s / 10 x 15 cm

4 P. 176-178 - Scott, J. G. (Sir), K.C.I.E. (1983). Gazetteer of Upper Burma and the Shan States –Part 2 Vol. 1 (Reprinted from the 1900 edition). New York : AMS Press Inc.

5 The collection of original prints of photos by V.C. Scott o’Connor is the permanent collection of the Royal Asiatic Society, London. The photo of Thaungdut Sawbwa was part of that.

Thaungdut (Thaung Thut) is a remote town in a valley on the western side of the Chindwin river (nowadays in Sagaing division), bordering Manipur state in India. During precolonial and colonial times, the town was populated by the Shan people and a small number of Chin, despite its location outside the Shan plateau proper. Its oral history traces the town back to the Buddha’s time before continuing through the Bagan, Ava, and Konbaung periods.

Although remote and notorious for deadly jungle fever, the valley was rich with valuable timber. Even today, the area is still not easily accessible, requiring days of travel.

The ruling prince (Sawbwa) of Thaungdut, once paid allegiance to the Burmese court, but was among one of the first to submit to British rule after the annexation in 1885.

Here is a rare photo of the Sawbwa of Thaungdut, possibly Saw Khan Min. According to Sir James George Scott4, this prince ruled during the annexation until dying in 1893, and being succeeded by his brother, Saw Kin Mon in 1894. Another photo alleged to be of Thaungdut Sawbwa was taken by V. C. Scott O’Connor, writer of the renowned The Silken East, during his trip at the end of the 19th century.5 However, it shows a different person, probably Saw Kin Mon.

This photo was taken on a steamer, possibly when the prince met with the British officer on board. Apart from the usual items of regalia such as the spittoon and the betel nut box, note the tribal-style Naga spears and bunches of peacock feathers being held by his retinue.

2.10 Sawbwa of Wuntho’s Family

1891

Wuntho was a principality in Katha district, lying between the Irrawaddy and the Chindwin rivers (nowadays in Sagaing Division). Despite being mainly populated by the Bamar race and being geographically far from the Shan plateau, the Burmese administration during the dynastic time classified it similarly as Shan towns under its suzerainty. The town had its own hereditary ruling princes who used the title of ‘Sawbwa’ like those in the Shan States. After the annexation, the prince of Wuntho, Aung Myat continued to rule with a reasonably amicable relationship with the British.

Wuntho was known for its rich forests and some gold deposits. Upon hearing of the British plan to built a railway into his territory, the prince became suspicious and distrust of the British eventually caused him to stage a revolt.6 The uprising was quickly suppressed, resulting in the British deposing the prince and taking control of the town’s administration before annexing it under British rule.

This photo by Beato was possibly taken in 1891 when British troops were sent to suppress the rebels. Here, the wife and son of the deposed prince are seen seated in the center. Both wear the attire of the Burmese ruling class and are surrounded by a large group of female attendants. Interesting regalia objects include parasols, betel nut boxes, and water flasks.

2.11 A Group of Dacoits

1897 / 18 x 24 cm

Raiding and capturing dacoits was one of the main tasks undertaken by the military in the first decade after the annexation of Upper Burma in order to establish peace and order. Even prior to annexation, towards the end of Burmese rule, instability was widespread due to the court’s ill administration. The headmen of certain villages or towns took advantage of court unrest to seize power and turn the people under them into rebels, who attacked and stole from others. Immediately after British troops arrived in Mandalay and King Thibaw was deposed, the state was in chaos. Several imposters claimed the right of succession, many rebel groups emerged, and even some groups of nationalist clergy rose up against the British.7

Inside the Mandalay palace compound, which became the British administrative offices named ‘Fort Dufferin’, a prison was set up for the captured dacoits. The group shown were awaiting trial and imprisonment. The soldiers include both Sikhs and Gurkhas. The dacoits wear a black shirt worn over the white long-sleeved ones. Handcuffs are visible on some.

Burma’s rich natural resources have been known for a long time. Fertile land perfect for agriculture and farming, densely wooded mountains full of timber and forest products, underground deposits of oil and minerals, were all of immense economic value in this richly endowed land. Prior to the arrival of the British, 15thcentury Italian travelers already wrote of a land full of wealth from its bountiful natural resources, a bounty that remains till this day.

Western colonizers often justified their presence with the claim that they were bringing civilization to the uncivilized. However, it is clear that exploiting natural resources and creating wealth from their colonies was the underlying motif. Ironically, without the arrival of the colonizer, such resources would have remained in the control and under the monopoly of the local rulers who ran a feudal society, leaving only small benefits to those lower down. On the contrary, trade in these resources during colonial times created a lucrative economy and employment, with a better quality of life and enhanced opportunities for many locals.

Both during colonial times and after independence, rice and timber were always at the forefront of exports from Burma. Many foreigners as well as locals made fortunes in these commodities at all points along the supply chain. Mills were built, locals were employed, and farming as a profession began. Less well known, gemstone mining especially for rubies and oil extraction were also important contributors to Burma’s list of exports.

2.31 At Ruby Mine, Mogok

1920s / 17 x 25 cm

For centuries, the name of Mogok and its famous rubies has held a strong allure for foreigners and locals alike. During the dynastic period, the court monopolized mining activities and never granted access to foreigners. The famous pigeon blood red ruby ‘Nga Mauk’ of King Thibaw, mysteriously lost during his journey to exile in India, was undoubtedly from Mogok.

Under British rule, the Mogok mines opened up, but without modern roads or transportation, it took around five days on the horseback to reach Mogok from Mandalay. The last few days involved a trek up a steep mountain path to the town almost 4,000 feet above sea level. The valley was formed by an ancient river which had long since disappeared leaving vast quantities of gravel where the rubies can be found.

Here, a western man in a flat cap stands on the back supervising local workers who are clearing the small water course and digging up the gravel, to be rinsed and sorted for rubies. The canyon-like terrain can be seen behind. Over the years, more gorges were created as a result of the continuous digging.

Above left

2.34 “Crude Native Method of Washing the Ruby-Laden Gravels, Mogok”

1905 / 7.5 x 8 cm / Stereoscopic Card by Underwood & Underwood

In this photo, the dug out earth and gravel is dumped into a pit where water from the hillside is poured in. The water pressure separates the dirt from the heavier gravel which sinks to the bottom and the muddy water is drawn off. The long bamboo pole with attached basket was used as a lever to lift the washed gravel from the pit for sorting.

Above right

2.35 “European Mining Method in the Ruby Mines, Mogok”

1905 / 7.5 x 8 cm / Stereoscopic Card by Underwood & Underwood

The western way of mining was introduced by the company that was granted the license to work here. Digging and unearthing was carried out on a much larger scale and a system was installed with carts being used to transport the dug-up earth to the washing mill. Note the difference in ground level between the foreground and the background, caused by stripping off the surface of the soil to get to the lower layers of ruby-bearing gravel.

2.32 Picturesque view of Mogok Town

1905

2.33

1905

Mogok town can be seen extending all the way into the background of the photograph with the roofs of houses dotting the valley. Its terrain changed quite markedly as the result of increased mining activity. Original water courses were dug up and diverted to create strands of small streams to aid with the mining (2.33)

Despite the advent of modern mining methods, locals still used traditional techniques. Here, local miners squat on the ground next to small piles of gravel which have been scooped up from the stream, rinsed and dried. Miners then sorted through and examined those with potential under the blazing sunlight.

2.105-107 The Phaung Daw U Festival

1935 / 16 x 21 cm / W.C.F. Carroll

In Burma, each town has a main pagoda where the annual celebration and fair takes place (2.98). The more revered the pagoda, the bigger the fair and celebration. In the Southern Shan States, there is a group of five Buddha images known as Phaung Daw U, which are kept at the temple in Namhu village on the southern shores of Inle Lake. They are most highly revered and venerated by the locals as well as people from elsewhere across the country.

Each year, in the Burmese month of Thadingyut, usually falling between late September and early October, the centuries-old festival under the same name as the images takes place. During the 19-day festival, four out of the five images would be temporarily enshrined on the Karaweik barge (a large boat in the shape of the mythical bird), travelling around the lake area to different villages for people to pay their respects. At every stop, lavish donations were made accompanied by celebratory activities. Miraculous incidents are associated with the event such as when the five images were lost in the water due to an accident. Four were found, but later the fifth one mysteriously reappeared at the temple. Hence, it became customary for only four to be taken out for the festival.

The origins of the Phaung Daw U images, like many other sacred images in Burma, are shrouded in myth and oral history. They were associated with King Alaungsithu of Bagan (r.1113-1169), who bought them to this area with his magical barge. They were first enshrined in a few places within the lake vicinity before being moved to this temple in 1956.

This trio of photographs captures a vibrant moment during the festival in the 1930s when long lines of racing boats, vigorously rowed by villagers using their legs, tow the magnificent Karaweik barge watched by a crowd of spectators in many small boats.

Sao Sanda Simms, then a young Shan princess witnessed the festival at that time, describing the barge so vividly.44

“A ‘karaweik’ is a mythical bird, and phaung means barge. In those days, the phaung was constructed on a wooden platform covering the widths and length of three long, large dugout boats. In the middle of the platform stood a golden throne on which the royal images were placed. The bow carried the head and the stern the tail, the whole structure representing the form of the mythical bird. In the middle, the roof of the pavilion supported three separated multi-tiered htis of glittering colours, which tapered up into the sky. The barge was so intricately made that I wondered at the time and labor that must have gone into building it. The karaweik was decorated win diverse colors and was a stunning sight, sitting serenely on the clear blue waters with the red crystal ball in its beak.”

2.114 A Boy and Father at Novitiation Ceremony

1940s / 24 x 29 cm

In Burmese traditions, a young boy’s entry into the monkhood marked a significant transition from childhood to adulthood. The novitiation ceremony, known as ‘Shin Pyu’, is considered an important rite of passage that every boy should go through and the practice continues today. Sponsoring such a ceremony for their sons is believed to confer great merit on the parents and relatives.

The ceremony usually takes place sometime between the age of ten to twelve. The boys would be dressed in splendid costumes and fine jewelry before being paraded to the monastery where they get ordained, shave off their hair and change into the monk’s saffron robes. The entire ceremony replicates the ‘The Great Departure and Renunciation’ episode from the Buddha’s life when Prince Siddhartha (before becoming the Lord Buddha) left the palace and worldly pleasures in search of the noble truths.

Considered as an important family event, parents spare no expense in arranging the ‘Shin Pyu’ ceremony. A large feast is held for the guests; a fancy bullock-cart or a horse with elaborate trappings is rented for the procession; lots of donation objects are prepared; and a professional photographer would be hired or formal portraits were taken at the studio to record the meritorious moment.

Here, the boy and his father are dressed in fine clothes with expensive luntaya acheik silk taungshey pahso waist cloths. The boy wears a replica of a ‘sal-we’ royal decoration (1.2, 2.113) and court-inspired headgear, ordered from specialist shops, to signify his princely portrayal. In the old days, quality metallic thread, bullions, and sequins embellished the costumes, creating subtly glittering effects like real gold. However, the materials decorating the apparel nowadays mostly consist of garishly coloured plastic sequins.

2.115 Shan Boys at Novitiation Ceremony

1940s / 15 x 20 cm

The Shans, like the Burmese, are devout Buddhists. Their traditional way of life has assimilated some elements from Burmese culture. Shan boys also undergo the ‘Shin Pyu’ novitiation ceremony with similarly elaborate preparations. As with the Burmese, such a ceremony can be done as a single-family event or as a communal one where several families with young boys of the same age jointly host the celebrations to save costs. In the latter case, a temporary structure would be set up and decorated to receive large numbers of guests. In this photo, four boys are preparing to be ordained. Perhaps they were from the same extended family, with the patriarch, possibly a grandfather, seated in the center. Here loose trousers are the key sartorial feature distinguishing Shan from Burmese attire (a longyi).

That all the boys wear ‘u chaung’ headgear reflects the influence of Burmese traditions, while wearing long robes appears to be traditional practice in Shan Shin Pyu. Such robes, usually tailored from pale pink silk satin and embellished with embroidery, recalls Shan royal apparel (1.33, 2.55).

2.116 Young Burmese Girls at Ear-boring Ceremony

Circa 1940s / 15 x 20 cm / Toyo, Henzada

This a portrait of two teenage girls, resplendent in lavish courtstyle costumes during their ear-boring ceremony (na-twin mingala), an occasion when girls usually dressed like princesses. Here, their costumes are a replica of a Mahalatta regalia robe (1.1, 1.39) used by queens and worn over the htaing ma thein dress (1.40), with the trailing skirt visible on the floor. The headdress, see bong completed the royal look. The papier maché core was lined with silk and adorned with tinsel and sequins. Though not comparable to the original robes used at court, these Mahalatta replicas have quite a detailed construction and fine workmanship. Costumes such as these were usually rented for the occasion and would only be custom-made if the girl came from an extremely wealthy family. The lavishness of the costume and jewelry also varied, depending on the budget. At the most basic level, a simple htaing ma thein dress would be worn.

The Burmese custom of ear-boring served as a rite of passage ceremony for girls on the onset of adulthood, equivalent in importance to the novitiation ceremony for boys. The tradition can be traced back to the court. Although still practiced it is a social event, with no religious ceremony. An astrologer consults the girl’s horoscope and the auspicious day is chosen for the ceremony to which close family friends and relatives would be invited. When the auspicious moment arrives, the most respected female elder, or, in the past, the professional ear-borer would pierce both earlobes with a golden needle, one end of which is set with a gemstone. Once pushed through the earlobe, the sharp end is bent to keep it in place. It is then turned everyday till the piercing has healed.

3.45 South Entrance to Shwedagon Pagoda

1870s / 7 x 10 cm

Situated on Singuttara hill, the Shwedagon pagoda is reached by staircases leading up to the platform from four directions. On each side, the long covered staircase has a roof structure set with tiered spires at intervals. The southern entrance has been the most used due to its connection to the road coming up from the river and downtown. This road, laid out in the British town plan of the 1850s was named Shwedagon Pagoda Road. Pilgrims arriving in Rangoon via the river in the old days could walk, take a bullock cart or horse-drawn carriage to the pagoda.

Just as donations to the pagoda and its platform have led to changes and additions, so too have the entrances and staircases been sponsored by donors, many of whom were wealthy locals with fortunes made from the growing economy of colonial Burma.

These photographs (3.45-7) show the southern entrance to the pagoda and the changes wrought over the years. The first photo (3.45), taken around the 1860s, depicts the entranceway at an early stage. A pair of gigantic guardian lions (chinthe) had been added less than a decade before. Behind each lion, the much smaller seated guardians were part of the original entrance design and have been retained throughout all subsequent changes. The second photo (3.46) shows an elaborate masonry arch with decorative grottos on both sides and topped with the spired pavilion. The entire structure is a symbolic representation of Mount Meru, the center of the universe according to Buddhist cosmology. The last photo (3.47) shows the later development of the entrance from the 1910s with the addition of a large triple-spired pavilion at the front and the enlargement of the steps up from the road. The spires, gables, and eaves were sumptuously decorated with perforated wooden decoration. This addition completely blocked the masonry arch seen in 3.46. Today, most decorative details on the staircase have been altered – only the decorative arch and the guardian statues remain intact. Unfortunately, they are not easily visible as they are still blocked by a massive front pavilion, the latest and biggest version built during military rule.