Terms and conditions of use
Buddhist cosmological manuscript
(Bhon-zin parabik)
(early 20th century-mid 20th century)
- Medium
- ink and wash on paper, glass, thayo, mirrors
- Measurements
- 17.0 × 38.0 cm (page) 17.0 × 43.0 cm (closed) 426.0 × 38.0 cm (opened)
- Place/s of Execution
- Burma
- Accession Number
- 2014.158
- Department
- Asian Art
- Credit Line
- National Gallery of Victoria, Melbourne
Purchased, NGV Asian Art Acquisition Fund, 2014
This digital record has been made available on NGV Collection Online through the generous support of The Gordon Darling Foundation - Gallery location
- Not on display
- Physical description
- The manuscript is in the form of a concertina folding paper manuscript (parabaik, Burmese) with images and text executed in black ink on 24 leaves, held within two covers The concertina format is commonly used in Burma and Thailand for paper manuscripts devoted to a wide range of subjects, including cosmology, the Life of the Buddha and the Jataka Tales and records of royal processions and religious donations. Starting from the top, five levels of heavens are depicted on the first five pages, the next six pages portray the Tavatimsa heaven and the cosmic axis/ Mt Meru, followed by a single page showing the beginning of the levels of hell, known as the Asura realm. Below the Asura realm two pages are dedicated to an aerial view of the universe, and the following eight pages describe the hells. The manuscript ends with an image of the Buddha. Characteristic features of Burmese cosmological manuscripts that distinguish them from Thai examples are seen in this work, including the final Buddha figure and the prominent fish, Ananda, encircling Mt Meru. The reverse of the parabaik is covered in text in Shan script, indicating that the manuscript was produced in the Shan region in north-east Burma. (A signed lacquer bowl, recently acquired with funds donated by Peter Chu, was also produced in this area). When folded the manuscript is encased within two covers made from green glass patterned with a repeating floral design within a raised, corded grid, executed in thayo ( lacquer mixed with sawdust to form a workable paste which hardens on drying) and interspersed with mirrors.