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The peoples of Southeast Asia were once thought to have shared a lack of inventiveness since prehistoric times and to have been “receptive” rather than “creative” in their contacts with foreign civilizations. Later excavations and discoveries in Myanmar and Thailand, however, inspired some scholars to argue against the accepted theory that civilization moved to Southeast Asia from China in prehistoric times; rather, these scholars contended, the peoples of mainland Southeast Asia were cultivating plants, making pottery, and working in bronze about the same time as the peoples of the ancient Middle East, and therefore civilization spread from mainland Southeast Asia to China and India. Southeast Asians do not have a strong tradition of art theory or literary or dramatic criticism, for they are always more concerned with doing the actual work of producing beautiful things. Because the Southeast Asians, especially in the western half of the mainland, worked on nondurable materials, it is not possible to trace the development and evolution of art forms stage by stage. The region has always been thickly forested, so it was natural that the first material to be used for artistic purposes should have been wood. They retained the wood-carving tradition, begun in ancient times, even when they learned to work with metals and with stone; wood carving flourished long after the great age of stone sculpture and stone architecture, which ended in the 13th century. Proto-Neolithic paintings discovered in a cave near the Salween River in the western Shan state of Myanmar have very close affinity with the later carvings on posts of houses among the Nagas on the western hills of Burma. Similarly, cave paintings of a pair of human hands with open palms, one holding the sun and the other holding a human skull, are reflected in the later aesthetic tradition of Southeast Asia: the sun symbol is found as an art motif all over the region, and a suggestion of awe, triumph, and joy at acquiring a human head is found in carvings under the eaves of the Naga houses. The cave painting testifies to the continuity of the magico-religious tradition connected with all the arts ANSWER:
The peoples of Southeast Asia were once thought to have shared a lack of inventiveness since prehistoric times and to have been “receptive” rather than “creative” in their contacts with foreign civilizations. Later excavations and discoveries in Myanmar and Thailand, however, inspired some scholars to argue against the accepted theory that civilization moved to Southeast Asia from China in prehistoric times; rather, these scholars contended, the peoples of mainland Southeast Asia were cultivating plants, making pottery, and working in bronze about the same time as the peoples of the ancient Middle East, and therefore civilization spread from mainland Southeast Asia to China and India. Southeast Asians do not have a strong tradition of art theory or literary or dramatic criticism, for they are always more concerned with doing the actual work of producing beautiful things. Because the Southeast Asians, especially in the western half of the mainland, worked on nondurable materials, it is not possible to trace the development and evolution of art forms stage by stage. The region has always been thickly forested, so it was natural that the first material to be used for artistic purposes should have been wood. They retained the wood-carving tradition, begun in ancient times, even when they learned to work with metals and with stone; wood carving flourished long after the great age of stone sculpture and stone architecture, which ended in the 13th century. Proto-Neolithic paintings discovered in a cave near the Salween River in the western Shan state of Myanmar have very close affinity with the later carvings on posts of houses among the Nagas on the western hills of Burma. Similarly, cave paintings of a pair of human hands with open palms, one holding the sun and the other holding a human skull, are reflected in the later aesthetic tradition of Southeast Asia: the sun symbol is found as an art motif all over the region, and a suggestion of awe, triumph, and joy at acquiring a human head is found in carvings under the eaves of the Naga houses. The cave painting testifies to the continuity of the magico-religious tradition connected with all the arts of the area.