Whispers in the Walls: How Ancient Bagan Artists Painted Their Timeless Murals
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Hsu (NP News) - September 4
When travelers arrive in Bagan, they are often struck silent by the breathtaking sprawl of more than 3,800 temples, stupas, and monasteries that rise from the dusty plains of central Myanmar. Among these monuments, built between the 9th and 13th centuries during the height of the Bagan Kingdom, lies another treasure often hidden in the shadows: the delicate wall paintings that whisper stories of Buddhist devotion, artistic mastery, and cultural innovation.
Although many of these murals have faded with time, their survival provides a remarkable window into how artisans of nearly a thousand years ago practiced their craft. Out of the surviving 3,837 monuments in Bagan, 416 still contain wall paintings—a significant number that allows scholars and conservators to study their methods and meanings.
Painted in the Heat of Summer
Archaeological studies suggest that most of the paintings were created during Myanmar’s sweltering summer season. The reason was not accidental. For one, farming activities came to a standstill under the intense heat, freeing villagers and artisans to focus on artistic and religious duties. Inside the dim chambers of the temples, the strong summer sunlight could fully penetrate through small windows and doorways, illuminating interior walls and giving painters a natural source of light.
Summer also offered practical benefits. The base plasters that coated the temple walls dried quickly in the heat, reaching the ideal consistency for applying pigments. According to experts, the wall-painting process required the plaster to be neither too wet nor too dry—a delicate balance that allowed colors to seep into the surface and last for centuries.
Organized Teams of Artists and Monks
Far from being the work of solitary craftsmen, the murals were most likely created by organized teams. Painters were not only trained in the technical skill of applying pigments but also deeply knowledgeable in Buddhist literature. Many murals depict Jataka tales—stories of the Buddha’s past lives—requiring familiarity with complex narratives and symbolism.
Behind these teams stood another layer of guidance: learned monks, abbots, and scriptural experts. Their role was to ensure that the visual storytelling aligned with Buddhist teachings and doctrinal accuracy. In this way, the murals were not merely decoration but vehicles of devotion, education, and moral guidance for worshippers.
Another important but often overlooked group were the plasterers—the specialists who prepared the walls before painting. Their role was critical: the durability of the paintings depended on the quality of the base layers.
Layers That Tell Time
Modern conservationists working in Bagan often discover fascinating details hidden beneath the surface. Successive generations repaired damaged murals by reapplying plaster and repainting over them, unintentionally documenting multiple layers of history.
For instance, in one of the temples near the Nyaung U golf course, experts found that the original base layer consisted of lime plaster, earthen plaster, and another lime coat. Later repairs, however, replaced these with two lime layers. The newer paintings imitated the original style so closely that only scientific analysis could reveal the difference.
Even more surprising, in some temples such as one in the Thakyamuni group, researchers discovered that the base layer was not plaster at all, but woven fabric. This suggests that artisans experimented with multiple techniques rather than adhering to a single standardized method.
Early and Later Techniques
The methods of painting also evolved over time. In the 10th and 11th centuries, artisans typically applied a thick layer of earthen plaster, topped by a thinner coat of lime plaster. The pigments were painted when the plaster was semi-dry, a technique known as the semi-dry method. This allowed colors to penetrate just enough into the surface to ensure longevity while maintaining brightness.
One of the earliest surviving examples is found in Nathlaung Kyaung Temple, believed to have used this semi-dry technique. Interestingly, unlike many other temples, the paintings there do not feature Jataka tales but rather more abstract religious themes.
By the 12th and 13th centuries, the system of layering had grown more complex. Painters often used lime plaster at the bottom, earthen plaster in the middle, and another lime layer on top—an arrangement that created stability and a smoother surface for detailed work. This variation in layering also helps modern scholars date the murals more precisely by analyzing the structure of the base.
Yet even within a single temple, variations can be found. In some cases, painters avoided using earthen plaster in certain sections, particularly in areas prone to dampness such as near water seepage points. This demonstrates not only technical awareness but also adaptation to environmental conditions.
The Timeless Stories on the Walls
What did these painters depict? The majority of murals across Bagan illustrate Buddhist stories, particularly the Jataka tales. These were visual sermons for a population where literacy was not widespread. Pilgrims could walk through temple corridors and “read” the moral lessons of compassion, generosity, and self-sacrifice through painted imagery.
Some murals, however, were more abstract or symbolic. The Nathlaung Kyaung’s paintings, for example, differ from narrative depictions and may reflect ritual or cosmological themes. This diversity underscores the creative range of Bagan’s artists and their patrons.
Challenges of Preservation
Today, the murals face immense challenges. Centuries of exposure to heat, moisture, earthquakes, and human interference have left many in fragile condition. Conservation teams working under the Myanmar Department of Archaeology and international organizations, including UNESCO, have undertaken painstaking restoration projects.
One of the key difficulties is deciding how much to intervene. In some temples, newer layers of paintings cover older ones. Conservators must carefully weigh whether to preserve later additions or attempt to uncover the original murals beneath. Each decision affects not only the visual integrity but also the historical narrative of the temple.
A Living Legacy
Despite these challenges, Bagan’s wall paintings remain one of Asia’s most remarkable artistic legacies. They are more than just ancient art—they are chronicles of faith, collaboration, and cultural exchange. They remind us that the artists of Bagan were not simply painters but storytellers, theologians, and innovators who worked under the blazing summer sun to create images that would endure for centuries.
Every visit to a Bagan temple is, in a sense, a dialogue across time. The faint lines, faded pigments, and layered plasters whisper the voices of artisans who lived nearly a millennium ago. As researchers continue to uncover new evidence, one thing becomes clear: the story of Bagan’s murals is far from finished. Much more is still hidden in the walls, waiting to be revealed.
Ref: Living Myanmar Media Group