Page 394 - The Rough Guide to Myanmar (Burma)

392 CONTEXTS Burmese architecture
BUDDHIST MUDRAS AND THEIR MEANINGS
Buddha images are traditionally shown in one of various iconic poses, known as mudras,
whether standing, sitting or reclining.
Abhaya mudra the “have No Fear” pose shows the Buddha standing with his right hand
raised, the palm facing the viewer.
Bhumisparsha mudra the “earth-Witness” pose shows the seated Buddha touching the
ground with the tips of the fingers of his left hand, commemorating the moment during his
enlightenment when the demon mara, attempting to break his concentration, caused the
earth to shake beneath him, and the Buddha stilled the ground by touching it.
Dana or varada mudra the “offering” pose, with the Buddha seated and his right hand
placed palm upwards signifying the act of giving and compassion.
Dhyani or samadhi mudra shows the Buddha in meditation, seated in the lotus or half-lotus
position, with his hands placed together in his lap.
Namaskara mudra shows the Buddha (or other devotee) with hands placed together in a
gesture of prayer.
Parinirvana mudra shows the Buddha in a reclining pose to represent the moment of his
death and entrance into nirvana.
Vitarka mudra (“Gesture of explanation”) and dharmachakra mudra (“Gesture of the
turning of the Wheel of the Law”). in both positions the Buddha forms a circle with his thumb
and one finger, representing the “wheel of dharma” (dharmachakra), which symbolizes the
Buddhist route to nirvana. used in both standing and sitting poses.

monsters commonly encountered include the bird-like garuda and the snake-like naga,
half-animal and half-human creatures with god-like powers. Another bird, the hamsa
(translated either as “goose” or “swan”), is also commonly found as a decorative element
and is strongly associated with the Hindu god Brahma, who also appears in some
Buddhist temples as a protector of the faith.

Secular architecture
Temples apart, traditional Burmese buildings were constructed entirely of wood and
have almost entirely vanished as a result of fire, earthquakes, World War II and the
depredations of time – the now empty plains surrounding the temples of Bagan, for
example, would once have been filled with wooden houses, palaces and monastic and
administrative buildings. The reconstructed royal palace at Mandalay gives a slight
(if not massively inspiring) sense of what old Myanmar looked like. More authentic
are the few surviving wooden religious buildings, such as the Yoke Sone Kyaung
monastery in Salay (see p.231).

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