Southeast Asia, Burma (modern day Myanmar), ca. 19th century CE. A hand-carved and hand-painted traditional Burmese theater puppet head, probably carved from Gmelina arborea (yamanay) wood, with an articulated mouth, an elaborate seven-tiered headdress with a flame finial and ear ornaments, and an elegant face, its eyes inlaid with black and white glass. According to Dr. Tin Maung Kyi, a medical doctor as well as an expert on Burmese puppetry, each puppet is typically comprised of seventeen to nineteen pieces that are string operated; the head and neck piece, the body in two pieces, a pair of arms in six pieces and a pair of legs in eight pieces. Burmese marionettes are incredibly intricate and dexterous as they require eighteen (for male characters) or nineteen (for female) wires, and even more amazingly, all of these wires are controlled only by one puppeteer. The size of the head determines the height of the puppet, and the hand-span (distance between the thumb and tip of middle finger) determines the circumference of the head. Clearly, this head belonged to a rather large puppet. The tradition of Burmese puppet theater (yoke thay) originated in the 15th century CE and saw its peak in popularity in the 19th century. The performances would last all night and shows called upon the talents of puppeteers, singers, and musicians. A Burmese marionette troupe involves twenty-seven characters, including a king, animals such as horse, elephant, tiger, monkey and parrot, ministers, a prince and princess, buffoons, and various mythical characters. Each puppet is danced in its own particular manner. This puppet represents a mythical being, probably Thagyar Min, the King of the Celestial Beings, who wears a seven-tiered headdress and an opulent costume resembling ceremonial dress worn by Burmese kings on stately occasions that is comprised of a gold-hued robe embellished with sequins and beads. He also carries a double-edged sword in his right hand. According to Dr. Kyi, this puppet must always descend upon the stage from above the handrail, signifying his elevated abode and by extension, his high status. What's more, his feet are never to touch the floor. Custom wood stand. A fabulous example from this cherished Burmese tradition. Size: head measures 9.5" L x 8" W x 22.25" H (24.1 cm x 20.3 cm x 56.5 cm); 26.625" H (67.6 cm) on stand

For additional information about Burmese puppetry see the following sources: Bruns, A.: Burmesische Marionettenkunst 2000, Bangkok (Ph.D.Thesis); Cowell, E.B.: The Jataka or Stories of the Buddha's former births 1969, London: Luzac & Co; Ma Thanegi: The illusion of life. Burmese marionnettes 1994, Bangkok: White Orchid Press; and Singer, N.F.: Burmese Puppets, 1992, Singapore, Oxford, New York: Oxford University Press.

Provenance: Ex-Private Boulder, CO collection acquired at Indochine Gallery

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#117806

Losses to area where nails inserted to attach articulated mouth, but articulated mouth still moves. Losses to eye inlays as shown. Flame ornaments reattached to both ears. Stabilized crack running from lowest tier of of headdress to eyelid with overpainting. Loss to back of headdress. Stable age cracks to neck and face. General surface wear and pigment loss as shown.