Winged Creatures in Bagan painting of the 11th-13th CE

(The Myth behind religious aspect)

PWINT PHYU MAUNG

Independent Scholar
pwintphyu.ppm@gmail.com
Alphawood Scholarships 2017Batch

Celebrating Diversity in
Ancient Myanmar Hindu-Buddhist Art: Mythical Creatures
Inaugural Alphawood Alumni Conference (Myanmar)
November 9-11, 2019. Bagan
Convener: Elizabeth Moore
Cover Thu Ya Aung
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Abstract

This paper discusses the role of avian and celestial creatures in Bagan mural painting. The
illustration of mythical animals in the form of decorative art and architecture was used widely
in the religious monuments at Bagan from the mid-first millennium CE to circa 1400 CE.
Among these, are illustration of winged creatures such as the mythical couple called Kainari
(Kinnari) and Kainara (Kinnaya), Garuda, Hintha and Karavika (Karawake). The study
showed that some creatures are primarily decorative whereas others may have been
guardians to the temple itself and its devotees.

Winged Creatures

According to the legendary and oral history of Myanmar, the meaning of mythical animals is
the combination of imagination and reality (Ayyar, 1977). In other words, the extraordinary
power of animals is combined with human features. Among them, winged creatures were
frequently illustrated and they played a vital role in decorative arts of religious monuments.
These imaginations of belief or winged creatures are seen in the interior and exterior
decorations of religious monuments with different materials including stucco, terracotta,
glaze, wood and mural paintings.

Kainari and Kainara and Garuda

The interior illustrations of winged creatures sometimes are difficult to differentiate between
Kinnari and Kinnaya and Garuda and between Hintha and Karavika. In the case of Kinnari
and Kinnaya, there are three types: (1) human head with bird body, (2) bird-headed human
body and (3) human-headed horse body (Kishna Murthy, 1985). In Myanmar, the first type is
the most common in mural painting. Kinnari (Kainari) represents the female version and
Kainara the male version. In terms of Buddhism, their tale it is one of the 550 Jatakas with
the Bodhisattva having been Kainari four times. Popularly, Kainari and Kainara represent
faithfulness and loyalty in Burmese legend so are mostly depicted in a gentle form such as a
praying or dancing posture. The illustration of Kainari and Kainara in mural paintings can
mostly be seen on the pediment to the main shrine and pediment behind the Buddha image.

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Illustration of Kainari and Kainara in mural painting from Temple No.449 of the 12th century at Bagan
(Photograph by the author)

On the ambiguity between the Garuda and the Kainari and Kainara, both are human-headed
with a bird’s body. The Garuda serves as a vehicle of Hindu god Vishnu (Kishna Murthy,
1985). In a Buddhist context, it is mostly associated with the Naga on the pediment of main
shrine in temples. It is a kite-like creature always sitting on the Yakkha. While Kainari and
Kainara are depicted in gentle forms, the Garuda is expressed more aggressively to
represent its royalty and strength.

Garuda with serpent and Yakkha on the interior wall of the Penatha Gu shrine of the 12th
century at Bagan (Photograph by the author)

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Hintha and Karavika (Karawake)

The Hintha is mostly found in the floral frame on the exterior and interior walls of the temple.
The exterior Hintha is generally sculptured with stucco whereas the interior one is mural
paintings. The Hintha derived from the Hinduism, a Hamsa that has characteristic features of
goose (Kishna Murthy, 1985). It is the ideal of purity, goodness and perfect appearance in
Buddhism as it was one of the incarnations of Buddha. The illustration of Hintha in Bagan
paintings is commonly associated with floral motifs.

Hintha in floral frame from Phayathonsu temple of the 13th century CE at Bagan (Photograph by
the author)

The winged creature compared with the Hintha is the Karavika(Karawake). It derived from the
Pali word karavika meaning an eagle-like creature(Kishna Murthy, 1985). As myth, it is known as
the ideal of beautiful voice. Although Hintha is gently illustrated in mural paintings associated with
floral motifs, the Karavika(Karawake) is depicted as a vehicle or with more fierce features.
Furthermore, the Hintha is used as both an exterior and interior decorative theme, while the
Karavika is only found on the exterior of temples.

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Karavika (Karawake) as a vehicle from the wall painting of Nandamanya Temple

dated to the 13th century CE at Bagan (Photograph by the author)

Conclusion

To conclude, mural paintings in Bagan are a primary source to trace Bagan mythology and
mythical creatures. There are many additional significant imaginary creatures such as the
Makara, Ogre, Samari, Pyinsayupa and Manote Thiha. However, the winged creatures
mentioned above are both visually difficult to identify in paintings and furthermore may express
beliefs and meanings beyond their decorative role. It is notable that illustrations of Kainari,
Kanara and Hintha are more frequent than the illustration of the Garuda and Karawake. This
may suggest that the Kainari, Kainara and Hintha are primarily decorative to provide peace
and pleasure to the devotees whereas the Garuda and Karawake functioned as guardians to
the temple itself and its devotees.

Bibliography

Ayyar, K (1977) Animals in Indian Sculpture: Bombay: Taraporevaia

Kishna Murthy, K (1985) Mythical Animals in Indian Art: New Delhi: Abhinav Publications

Luce, G.H (1889-1979) Old Burma Early Bagan: New York: J.J Austin

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recipe.com/myanmar-mythology-and-mythical-creatures-2173?fbclid=IwAR2AG-

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AtZiX56AeUSubUv_8exAOusRH1b3dYJnWDTrdSRNdHJaDOUuoI_JI (Accessed on 22
December 2019)