-•s The Shway Dagôn
selves, have led him into a style of work that is too
delicate for open-air effect, for which this carving is
pre-eminently intended. If Burmese carving proceeds
“ t a z o u n g , ” o n t h e o u t e r c i r c l e
too far along this line it can only end in extinguishing
itself.
The colouring of these buildings is superb. Outside
they are vermilion and gold— within they are
