The pagoda slaves are a curious institution connected with temples. Under the Burmese kings persons could be dedicated to pagodas and by this process not only became slaves for life themselves but involved in the same servitude all their posterity, none of whom could by any method become free. They formed a low caste like the Indian Pariahs and though the British Government has abolished the legal status of slavery, the social stigma which clings to them is said to be undiminished.
Art and architecture make the picture of Burma as it remains in memory and they are the faithful reflection of the character and ways of its inhabitants, their cheerful but religious temper, their love of what is fanciful and graceful, their moderate aspirations towards what is arduous and sublime. The most striking feature of this architecture is its free use of gold and colour. In no country of the world is gilding and plating with gold so lavishly employed on the exterior of buildings. The larger Pagodas such as the Shwe Dagon are veritable pyramids of gold, and the roofs of the Arakan temple as they rise above Mandalay show tier upon tier of golden beams and plates. The brilliancy is increased by the equally lavish use of vermilion, sometimes diversified by glass mosaic. I remember once in an East African jungle seeing a clump of flowers of such brilliant red and yellow that for a moment I thought it was a fire. Somewhat similar is the surprise with which one first gazes on these edifices. I do not know whether the epithet flamboyant can be correctly applied to them as architecture but both in colour and shape they imitate a pile of flame, for the outlines of monasteries and shrines are fanciful in the extreme; gabled roofs with finials like tongues of fire and panels rich with carvings and fret-work. The buildings of Hindus and Burmans are as different as their characters. When a Hindu temple is imposing it is usually because of its bulk and mystery, whereas these buildings are lighthearted and fairy-like: heaps of red and yellow fruit with twining leaves and tendrils that have grown by magic. Nor is there much resemblance to Japanese architecture. There also, lacquer and gold are employed to an unusual extent but the flourishes, horns and finials which in Burma spring from every corner and projection are wanting and both Japanese and Chinese artists are more sparing and reticent. They distribute ornament so as to emphasize and lead up to the more important parts of their buildings, whereas the open-handed, splendour-loving Burman puts on every panel and pillar as much decoration as it will hold.
The result must be looked at as a whole and not too minutely. The best work is the wood carving which has a freedom and boldness often missing in the minute and crowded designs of Indian art. Still as a rule it is at the risk of breaking the spell that you examine the details of Burmese ornamentation. Better rest content with your first amazement on beholding these carved and pinnacled piles of gold and vermilion, where the fantastic animals and plants seem about to break into life.
The most celebrated shrine in Burma is the Shwe Dagon Pagoda which attracts pilgrims from all the Buddhist world. No descriptions of it gave me any idea of its real appearance nor can I hope that I shall be more successful in giving the reader my own impressions. The pagoda itself is a gilt bell-shaped mass rather higher than the Dome of St. Paul's and terminating in a spire. It is set in the centre of a raised mound or platform, approached by lofty flights of steps. The platform, which is paved and level, is of imposing dimensions, some nine hundred feet long and seven hundred wide. Round the base of the central pagoda is a row of shrines and another row runs round the edge of the platform so that one moves, as it were, in a street of these edifices, leading here and there into side squares where are quiet retreats with palm trees and gigantic images. But when after climbing the long staircase one first emerges on the platform one does not realize the topography at once and seems to have entered suddenly into Jerusalem the Golden. Right and left are rows of gorgeous, fantastic sanctuaries, all gold, vermilion and glass mosaic, and within them sit marble figures, bland, enigmatic personages who seem to invite approach but offer no explanation of the singular scene or the part they play in it. If analyzed in detail the artistic merits of these shrines might be found small but the total impression is unique. The Shwe Dagon has not the qualities which usually distinguish great religious buildings. It is not specially impressive by its majesty or holiness; it is certainly wanting in order and arrangement. But on entering the platform one feels that one has suddenly passed from this life into another and different world. It is not perhaps a very elevated world; certainly not the final repose of the just or the steps of the throne of God, but it is as if you were walking in the bazaars of Paradise—one of those Buddhist Paradises where the souls of the moderately pure find temporary rest from the whirl of transmigration, where the very lotus flowers are golden and the leaves of the trees are golden bells that tinkle in the perfumed breeze.
FOOTNOTES:
[124] For the Pyus see Blagden in J.R.A.S. pp. 365-388. Ibid. in Epigr. Indica, 1913, pp. 127-133. Also reports of Burma Arch. Survey, 1916, 1917.
[125] So C.C. Lowis in the Gazetteer of Burma, vol. I. p. 292, but according to others the Burmese chronicles place the event at the beginning of the Christian era.
[126] Sometimes called New Pagan to distinguish it from Old Pagan which was a name of Tagaung. Also called Pagan or Pugâma and in Pali Arimaddanapura.
[127] See the travels of Kia Tan described by Pelliot in B.E.F.E.O. 1904, pp. 131-414.
[128] More correctly Taung-ngu.