The Flickr Woodenmodels Image Generatr

One of a number of Wooden models of ethnic peoples, 1930s to mid-1940s
Possibly Maung Nyun (active 1930s–40s)
Possibly Mongnai, Shan states

Parts of present-day Myanmar experienced colonialism differently. Parliamentary rule was imposed on central and lower British Burma and Arakan, while areas like the highlands and Shan states were controlled indirectly through local rulers. The British partially defined ethnicity by classifying clothing through writings, collections, paintings and models. Meanwhile, however, the region’s diverse populations developed their own modern local identities based on cultural contexts and historical experiences.*


From the exhibition

Burma to Myanmar
(November 2023 – February 2024)

From influential superpower to repressive regime, Myanmar – also known as Burma – has seen dramatic fluctuations in fortune over the past 1,500 years.
Experiencing decades of civil war and now ruled again by a military dictatorship, Myanmar is an isolated figure on the world stage today, and its story is relatively little known in the West. However, the extraordinary artistic output of its peoples, over more than a millennium of cultural and political change, attests to its pivotal role at the crossroads of Asia.
Picking up the thread around AD 450, the exhibition explored how Myanmar's various peoples interacted with each other and the world around them, leading to new ideas and art forms. From the 14th century several kingdoms jostled for power and expanded important links with Thailand, China, Sri Lanka, and traders from the Middle East and Europe, creating a fertile ground for diverse cultures to flourish; a coin issued by King Dhammaraja Hussain (r. 1612–22) of the Arakan kingdom, inscribed in Arakanese, Bengali and Persian, shows the wide reach of his trade and political networks.
Rulers in central Myanmar came to dominate parts of the region between the 16th and 19th centuries, becoming the largest empire in mainland Southeast Asia. A stunning gold and ruby-studded letter sent by King Alaungpaya to George II in 1756 speaks to the empire's wealth and power.
Annexation by the British in the 19th century saw tremendous changes impacting art, culture and society – and contributed to the turmoil faced by Myanmar today. The show concluded by exploring how modern-day artists have defied state censors, marrying activism with artistic traditions in expressions of resistance and hope.
[*British Museum]

Taken in British Museum

Wooden models of ethnic peoples, 1930s to mid-1940s
Possibly Maung Nyun (active 1930s–40s)
Possibly Mongnai, Shan states

Parts of present-day Myanmar experienced colonialism differently. Parliamentary rule was imposed on central and lower British Burma and Arakan, while areas like the highlands and Shan states were controlled indirectly through local rulers. The British partially defined ethnicity by classifying clothing through writings, collections, paintings and models. Meanwhile, however, the region’s diverse populations developed their own modern local identities based on cultural contexts and historical experiences.*


From the exhibition

Burma to Myanmar
(November 2023 – February 2024)

From influential superpower to repressive regime, Myanmar – also known as Burma – has seen dramatic fluctuations in fortune over the past 1,500 years.
Experiencing decades of civil war and now ruled again by a military dictatorship, Myanmar is an isolated figure on the world stage today, and its story is relatively little known in the West. However, the extraordinary artistic output of its peoples, over more than a millennium of cultural and political change, attests to its pivotal role at the crossroads of Asia.
Picking up the thread around AD 450, the exhibition explored how Myanmar's various peoples interacted with each other and the world around them, leading to new ideas and art forms. From the 14th century several kingdoms jostled for power and expanded important links with Thailand, China, Sri Lanka, and traders from the Middle East and Europe, creating a fertile ground for diverse cultures to flourish; a coin issued by King Dhammaraja Hussain (r. 1612–22) of the Arakan kingdom, inscribed in Arakanese, Bengali and Persian, shows the wide reach of his trade and political networks.
Rulers in central Myanmar came to dominate parts of the region between the 16th and 19th centuries, becoming the largest empire in mainland Southeast Asia. A stunning gold and ruby-studded letter sent by King Alaungpaya to George II in 1756 speaks to the empire's wealth and power.
Annexation by the British in the 19th century saw tremendous changes impacting art, culture and society – and contributed to the turmoil faced by Myanmar today. The show concluded by exploring how modern-day artists have defied state censors, marrying activism with artistic traditions in expressions of resistance and hope.
[*British Museum]

Taken in British Museum

Wooden models of ethnic peoples, 1930s to mid-1940s
Possibly Maung Nyun (active 1930s–40s)
Possibly Mongnai, Shan states

Parts of present-day Myanmar experienced colonialism differently. Parliamentary rule was imposed on central and lower British Burma and Arakan, while areas like the highlands and Shan states were controlled indirectly through local rulers. The British partially defined ethnicity by classifying clothing through writings, collections, paintings and models. Meanwhile, however, the region’s diverse populations developed their own modern local identities based on cultural contexts and historical experiences.*


From the exhibition

Burma to Myanmar
(November 2023 – February 2024)

From influential superpower to repressive regime, Myanmar – also known as Burma – has seen dramatic fluctuations in fortune over the past 1,500 years.
Experiencing decades of civil war and now ruled again by a military dictatorship, Myanmar is an isolated figure on the world stage today, and its story is relatively little known in the West. However, the extraordinary artistic output of its peoples, over more than a millennium of cultural and political change, attests to its pivotal role at the crossroads of Asia.
Picking up the thread around AD 450, the exhibition explored how Myanmar's various peoples interacted with each other and the world around them, leading to new ideas and art forms. From the 14th century several kingdoms jostled for power and expanded important links with Thailand, China, Sri Lanka, and traders from the Middle East and Europe, creating a fertile ground for diverse cultures to flourish; a coin issued by King Dhammaraja Hussain (r. 1612–22) of the Arakan kingdom, inscribed in Arakanese, Bengali and Persian, shows the wide reach of his trade and political networks.
Rulers in central Myanmar came to dominate parts of the region between the 16th and 19th centuries, becoming the largest empire in mainland Southeast Asia. A stunning gold and ruby-studded letter sent by King Alaungpaya to George II in 1756 speaks to the empire's wealth and power.
Annexation by the British in the 19th century saw tremendous changes impacting art, culture and society – and contributed to the turmoil faced by Myanmar today. The show concluded by exploring how modern-day artists have defied state censors, marrying activism with artistic traditions in expressions of resistance and hope.
[*British Museum]

Taken in British Museum

Wooden models of ethnic peoples, 1930s to mid-1940s
Possibly Maung Nyun (active 1930s–40s)
Possibly Mongnai, Shan states

Parts of present-day Myanmar experienced colonialism differently. Parliamentary rule was imposed on central and lower British Burma and Arakan, while areas like the highlands and Shan states were controlled indirectly through local rulers. The British partially defined ethnicity by classifying clothing through writings, collections, paintings and models. Meanwhile, however, the region’s diverse populations developed their own modern local identities based on cultural contexts and historical experiences.*


From the exhibition

Burma to Myanmar
(November 2023 – February 2024)

From influential superpower to repressive regime, Myanmar – also known as Burma – has seen dramatic fluctuations in fortune over the past 1,500 years.
Experiencing decades of civil war and now ruled again by a military dictatorship, Myanmar is an isolated figure on the world stage today, and its story is relatively little known in the West. However, the extraordinary artistic output of its peoples, over more than a millennium of cultural and political change, attests to its pivotal role at the crossroads of Asia.
Picking up the thread around AD 450, the exhibition explored how Myanmar's various peoples interacted with each other and the world around them, leading to new ideas and art forms. From the 14th century several kingdoms jostled for power and expanded important links with Thailand, China, Sri Lanka, and traders from the Middle East and Europe, creating a fertile ground for diverse cultures to flourish; a coin issued by King Dhammaraja Hussain (r. 1612–22) of the Arakan kingdom, inscribed in Arakanese, Bengali and Persian, shows the wide reach of his trade and political networks.
Rulers in central Myanmar came to dominate parts of the region between the 16th and 19th centuries, becoming the largest empire in mainland Southeast Asia. A stunning gold and ruby-studded letter sent by King Alaungpaya to George II in 1756 speaks to the empire's wealth and power.
Annexation by the British in the 19th century saw tremendous changes impacting art, culture and society – and contributed to the turmoil faced by Myanmar today. The show concluded by exploring how modern-day artists have defied state censors, marrying activism with artistic traditions in expressions of resistance and hope.
[*British Museum]

Taken in British Museum

Wooden models of ethnic peoples, 1930s to mid-1940s
Possibly Maung Nyun (active 1930s–40s)
Possibly Mongnai, Shan states

Parts of present-day Myanmar experienced colonialism differently. Parliamentary rule was imposed on central and lower British Burma and Arakan, while areas like the highlands and Shan states were controlled indirectly through local rulers. The British partially defined ethnicity by classifying clothing through writings, collections, paintings and models. Meanwhile, however, the region’s diverse populations developed their own modern local identities based on cultural contexts and historical experiences.*


From the exhibition

Burma to Myanmar
(November 2023 – February 2024)

From influential superpower to repressive regime, Myanmar – also known as Burma – has seen dramatic fluctuations in fortune over the past 1,500 years.
Experiencing decades of civil war and now ruled again by a military dictatorship, Myanmar is an isolated figure on the world stage today, and its story is relatively little known in the West. However, the extraordinary artistic output of its peoples, over more than a millennium of cultural and political change, attests to its pivotal role at the crossroads of Asia.
Picking up the thread around AD 450, the exhibition explored how Myanmar's various peoples interacted with each other and the world around them, leading to new ideas and art forms. From the 14th century several kingdoms jostled for power and expanded important links with Thailand, China, Sri Lanka, and traders from the Middle East and Europe, creating a fertile ground for diverse cultures to flourish; a coin issued by King Dhammaraja Hussain (r. 1612–22) of the Arakan kingdom, inscribed in Arakanese, Bengali and Persian, shows the wide reach of his trade and political networks.
Rulers in central Myanmar came to dominate parts of the region between the 16th and 19th centuries, becoming the largest empire in mainland Southeast Asia. A stunning gold and ruby-studded letter sent by King Alaungpaya to George II in 1756 speaks to the empire's wealth and power.
Annexation by the British in the 19th century saw tremendous changes impacting art, culture and society – and contributed to the turmoil faced by Myanmar today. The show concluded by exploring how modern-day artists have defied state censors, marrying activism with artistic traditions in expressions of resistance and hope.
[*British Museum]

Taken in British Museum

Intricately crafted wooden models in tombs represented scenes from the deceased's life on Earth. Like tomb paintings, they were idealised depictions of what the deceased wished to attain in the hereafter. Ranging from miniature boats to scenes of production, they ensured that the tomb owner would forever be supplied for after death.
Wood, string linen
Early First Intermediate Period
Sedment
VM 347, VM 355, VM 356, VM 357, VM B228, VM 176

Gustavianum, Uppsala University Museum
The Mediterranean Sea and the Nile Valley
Uppsala Sweden

Intricately crafted wooden models in tombs represented scenes from the deceased's life on Earth. Like tomb paintings, they were idealised depictions of what the deceased wished to attain in the hereafter. Ranging from miniature boats to scenes of production, they ensured that the tomb owner would forever be supplied for after death.
Wood, string linen
Early First Intermediate Period
Sedment
VM 347, VM 355, VM 356, VM 357, VM B228, VM 176

Gustavianum, Uppsala University Museum
The Mediterranean Sea and the Nile Valley
Uppsala Sweden

Intricately crafted wooden models in tombs represented scenes from the deceased's life on Earth. Like tomb paintings, they were idealised depictions of what the deceased wished to attain in the hereafter. Ranging from miniature boats to scenes of production, they ensured that the tomb owner would forever be supplied for after death.
Wood, string linen
Early First Intermediate Period
Sedment
VM 347, VM 355, VM 356, VM 357, VM B228, VM 176

Gustavianum, Uppsala University Museum
The Mediterranean Sea and the Nile Valley
Uppsala Sweden

Intricately crafted wooden models in tombs represented scenes from the deceased's life on Earth. Like tomb paintings, they were idealised depictions of what the deceased wished to attain in the hereafter. Ranging from miniature boats to scenes of production, they ensured that the tomb owner would forever be supplied for after death.
Wood, string linen
Early First Intermediate Period
Sedment
VM 347, VM 355, VM 356, VM 357, VM B228, VM 176

Gustavianum, Uppsala University Museum
The Mediterranean Sea and the Nile Valley
Uppsala Sweden

This vibrant image captures a detailed display of intricately crafted model boats, showcasing the artistry and craftsmanship involved in their creation. The scene is set against a backdrop of a serene water feature, with gentle fountains adding a dynamic element to the composition. The bright blue tablecloth contrasts beautifully with the wooden textures of the boats, while the soft natural light enhances the colors and details, inviting viewers to appreciate the meticulous work of the model maker. The presence of a focused individual working on the models adds a narrative layer, suggesting a passion for this unique hobby.

The royal tomb complexes also contained subsidiary burials of courtiers and servants, provisioned with objects for them to use in the afterlife. In one of these burials, a flint knife was found, worked on both sides and formed into a blade with a curved handle.
Flint
1st Dynasty, c. 2980 BC
Provenance Abydos, tomb 330

As part of the funerary tradition, wood was placed in tombs as a provision for the deceased. In the early Middle Kingdom, mummified meat was packed in boxes shaped like their contents. This duck-shaped wooden box contains a bird carcass probably a duck or pigeon, along with packets of natron (a mineral used in mummification).
Bird, wood, natron
18th Dynasty, c. 1550-1295 BC
VM B237

Wooden models depicting scenes from daily life were included in tombs to perpetuate such activities in the afterlife. This model shows a small procession of women carrying baskets on their heads and a bird in their right hand.
Wood
C. 2150-1640 BC
VM 346

Gustavianum, Uppsala University Museum
The Mediterranean Sea and the Nile Valley
Uppsala Sweden

This 1940 advertisement is from a toy and hobby industry trade magazine and was not intended to be seen by the general public.

More views taken at RIAT 2019. Saturday 20/07/2019.

At the National Air Force Museum of Canada; Astra, Ontario.

New children's clothes Boutique and Toy Shop just opened in the beautiful village of Frigiliana (Malaga).

Nueva tienda de juguetes y ropa para niños recién inaugurada en el hermoso pueblo de Frigiliana (Málaga).

Model of a stained-glass maker's workshop, York Minster

This is a 1:200 scale reproduction in wood of all the buildings in Southend High Street.

ODC2 - Our Daily Challenge - Strike a Pose

This reminded me of an old song:
Standing on the corner
Watching all the girls go by, etc!

Thanks for your visit and any comments are very welcomed.
Have a great week ahead!

Articulated wooden animal models. From Art in Action 2011