Artworks & Context

Introduction to the exhibition
Spires and goose tails . . .
Preview select artworks
Bird-men of Siam (blog)
The aristocratic house and its furnishings

The regions of the exhibition
Burma
The upland regions
Siam (central Thailand)

Geographical and historical maps

Two reformer kings

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Doris Duke & Beyond the Exhibition

Doris Duke & her Southeast Asian art collection

Burma or Myanmar: which is right? (blog)

Names, Language
Burma or Myanmar: which is right? (blog)
Rocking Bangkok! (rock video, blog)
Thai words you already know (blog)
Thai language transcription (blog)

Buddhism in Burma and Siam
Theravada Buddhism in Burma and Siam
The previous lives of the Buddha

Readings
The Emerald Cities catalogue (blog)
Doris Duke:The Southeast Asian Art Collection by N. Tingley (ddcf.org)
First thoughts on further readings (blog)
More books

Conservation & Behind the Scenes

Conserving the Emerald Cities artworks
Conserving a fragile painting (blog, video)
Conserving a mirrored daybed (youtube video)
Damage control (blog, video)

Displaying a Burmese court costume (blog)
Discovering a new inscription (blog)

Connect

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Introduction to the Exhibition

click to enlargeThailand and Burma, neighboring countries approximately the same size in area and population, have many cultural features in common (Theravada Buddhism above all), but have traditionally been adversaries. Burma conquered the primary Thai kingdom in 1767, but within a few decades their fortunes began to reverse. Burma lost a series of wars with the British and was eventually overcome and reduced to a colony. Thailand—then called Siam—recovered and became more powerful than ever, and, though it faced enormous pressure from both the British and the French, was able to maintain a large degree of its independence.

The nineteenth century saw a brilliant flowering of all the arts in Thailand, under the patronage of both the aristocracy and wealthy merchant families. Burma’s arts flourished similarly in the earlier part of the century, but patronage was unsettled by increasing British encroachment, the eventual fall of the monarchy, and annexation by Britain in 1886.

As was true all over Asia, the arts of Siam and Burma in the second half of the nineteenth century began to be affected by Western styles and attitudes, the development of tourism and mass communication, and new technologies such as photography and power machinery.

The artworks in this exhibition come from the Asian Art Museum’s own collection, which is one of the largest and most important collections of nineteenth-century Siamese and Burmese art outside of Southeast Asia. About two-thirds of the works on view were donated from the Doris Duke Charitable Foundation’s Southeast Asian Art Collection, though other donors have also been generous.

Sections of the exhibition

The exhibition is divided into three sections. In addition to sections for the arts of central Burma and central Thailand, there is a section for the arts of the upland regions of eastern Burma and northern Thailand. The people of last two areas speak related dialects and share as many cultural features with each other as they do with their neighbors in central Burma and central Thailand.