Untitled | Moway (July, 1980)

This bordered square illustration depicts a yoni, the non-figurative representation of the female genitalia. It symbolises female divinity and generative power, and is a prominent Hindu-Buddhist icon. The yoni also represents the Hindu supreme Goddess Shakti, who is Shiva’s spouse, and thus by extension, it is the feminine counterpart of the masculine Shiva lingam.

There are diverse ways of representing the yoni, ranging from the highly stylised and abstract to the explicit. Here it is represented by a central blooming lotus flower flanked by open curvilinear forms. The curves vary in weight and are accentuated with rows of colourful stippling. The composition is balanced and almost symmetrical. The lines gradually lead outwards, escalating from the open lotus petals in the centre, to the multi-coloured chevrons by the edges. This design, together with the warm, vivid colours and red core, affirms the radiating divine energy of the yoni.

The bright colours, design and square format recalls that of Tantric Buddhist art where circular or square compositions are popular. The tri-coloured border also resembles that of colourful Tibetan Tantric mandalas. Focusing on a single large central subject is also a common approach. In Tibetan Tantric Buddhism, the lotus flower has multiple layers of meaning. Not only does it embody utmost wisdom and purity as it rises above the muddy waters to blossom beautifully, but it can also represent the female genitalia. Likewise, the yoni features in Tibetan Tantric artistic practice “” it is perhaps even more developed, representing the entire “womb complex” and the origin of life. It is also believed that one can harness the potent creative energy of the yoni through meditation and spiritual exercise. Together, this two-fold representation of the female divine energy is powerful and inviting.

The yoni is regularly featured in Aung Soe’s oeuvre, though it is seldom seen in modern Burmese art. The repeated use of spiritual symbols throughout his body of work points to a deeply spiritual artist who found insight in the teachings of Buddhism. It also reveals his comprehensive knowledge and understanding of Buddhist teachings and iconography. This ornate yoni illustration attests to his skill in appropriating and incorporating different spiritual teachings and aesthetic elements into his art.

Bibliography

• Ker, Yin. “Modern Burmese Painting According to Bagyi Aung Soe.” Journal of Burma Studies 10 (2005): 83-157. Accessed April 9, 2016. https://www.academia.edu/5301730/Modern_Burmese_Painting_According_to_Bagyi_Aung_Soe
• Peng, Jia. “An Exploration of Tibetan Tantric Buddhism and its Art: A Potential Resource for Contemporary Spiritual and Art Practice.” Master’s thesis, University College London (University of London), 2013. Accessed April 11, 2016. http://discovery.ucl.ac.uk/id/eprint/1417088