Beikthano City (or) The City of Vishnu
Ancient Center of the Pyu People of MYANMAR.
Beikthano transliterated from “Vishnu” the Preserver, the second of the Hindu triad, is the oldest of the 3 ancient Centres of Pyu Civilization.
Chronologically Beikthano flourished during the 1st to 5th centuries CE, the second being Thayekhittayar (Srikestra) now called Hmawzar which lasted from the 5th Century to the 7th Centugy. Hanlin, the last Pyu Kingdom was located farther north in the Shwebo District of Sagaing Division and was most probably the Pyu Kingdom that the Chinese chroniclers described in their dealings with the “Piao” and records of delegations from the Pyu kingdom to the Chinese court in 801-802. At any rate, Halin was sacked and burned in 832 by the Nanchao Kingdom from the north.
Beikthano city is located 12 miles west of Taungdwingyi Township, Magway Division on the Taungdwingyi-Magway Highway. Its co-ordinates are latitude (20°) North and (95° / 23’) East and is built on ground 450 feet above sea level. The ancient city of Beikthano covered an area of 3.3 square miles. The eastern city wall was 10,000 feet in length, the northern wall was 9,000 feet, the southern wall was 8,000 feet, while the western wall has collapsed owing to soil erosion caused by the action of the Yanpè Creek.
Beikthano was defended by two walls, a City wall and an inner Palace Wall. Both of these walls were more circular (or rather rhomboid) than square in shape.Huge, specially shaped bricks had to be baked to be fitted as proper corner stones for these walls. Neither the City walls nor the Palace Walls were defended by moats. The majority of the Pyu citizenry lived outside the city walls or in the surrounding countryside.
They were content to live in houses made of wood and bamboo but insisted on their monasteries being built of wood and brick and their city and Palace also achieving corresponding grandeur. An account of Beikthano was recorded in the Tang Dynasty (618-907) Chinese chronicle Man Shu in the chapter “The Southern Barbarians as follows:
“The circular wall of his (the Pyu King’s) city is built of greenish glazed titles (brick) and is 160 li. It has 12 gates and three pagodas at each four corners. . . Their house tiles are of lead and zinc. . . They have a hundred monasteries with bricks of vitreous ware, embellished with gold and silver, vermillion, gray colours and red kino.” [Taw Sein Kho (1895), The Pottery and Glasware of Burma 1894-95”,Superintendent of Govt.Printing, Rangoon.]
The usual dates ascribed to the Beikthano kingdom are from the 1st Century CE to the 5th Century CE when the city gates and the Palace Walls were burned to the ground.
Charcoal from the excavated sites have been radio carbon-dated to the 1st century C.E. Conflicting scientific evidence however emerged at the 5th Radio Dating Conference (1962) of the International Dating Conference, Cambridge University, U.K., where the decay of Radio carbon (14) from samples from Beikthano indicate that they should be more properly dated to 1950 B.C.E., i.e. to nearly 2000 years earlier than the First Century C.E. The charcoal samples for these analyses were taken from the two lowest strata of a religious edifice unearthed at site No.(9) as well as charcoal from the two bottom strata at site No.(10).
Religious Beliefs
One mystery surrounding Pyu religious beliefs is that although they built hundreds of monasteries and were Buddhist attested by contemporary Chinese chronicles, there is a surprising dearth of Buddhist artifacts in all three Pyu Kingdoms.
This has led to conjectures that the Pyu received their Buddhism from Andra Pradesh in Southern India. The excavations have uncovered artifacts that are related to those found in Andra Pradesh, with dates corresponding to the periods in which most of the Andra Buddhist material at Amaravati and Nagarjunakone was made ( i.e. during the second to fourth centuries.)
As Prof. R.L.Brown, Professor of Indian and Southeast Asian Art History at the University of California at Los Angeles succinctly puts it:
“Another problem is that no Buddhist artefacts have been found at Beikthano. One suggestion is that this mysterious absence is due to Andran Buddhist influence predating the adoption of iconic representations of the Buddha and thus represents the aniconic period at Amaravati (before the end of the second century.)[ Brown. R.L. Pyu Art, Looking East and West”]. U Aung Thaw offers a similar suggestion that the Buddhist sect at Beikthano rejected the worship of the Buddha image. [U Aung Thaw, Reports on the Excavations at Beikthano, Rangoon, 1968. p.66]
Hanlin in Upper Myanmar resembles the two other Pyu sites in having no Buddhist artefacts either.
Pyu Culture
Beikthano city and its environs reflect the culture of the Pyus. The populace cremated their dead and buried the ash in funeral urns or jars outside or even within their dwellings.
They appear to have gained considerable expertise in the making of burial urns. Over 700 such urns have been uncovered together with 45 intact covers and show the influence of many decorative styles.
They were also accomplished masons, being able to construct brick walls and edifices that have lasted to the present day. The insides of some buildings have been artistically decorated with stucco figurines, lime-wash and paintings.
The craft of blacksmithing seems to have been also developed as evidenced by the iron-work on the City Gates, hinges and decorative scroll work and the production of iron weapons such as swords, spear-heads, arrow-heads and bows.
The Pyus also seem to have been adept at pottery making, judging from the 2060 pots and jars uncovered comprising pots for water carrying, jars for water storage, and cooking pots.
The gate to the city wall at dig No.8 has also revealed a twice life-sized marble figure presumed to represent a Nat (Animistic) Spirit Guardian of the City indicating that Pyus were also accomplished sculptors in marble.
A small paper-thin exquisite gold cup and two similar silver cups that have been excavated bear witness that goldsmithy and silversmithy too were well developed among the Pyus.
Skeletal Remains
When one of the religious edifices (Dig. No. 14) was excavated a stretched out skeleton near the south wall was uncovered. Along the north wall were lined up two piles of human bones. The outstretched skeleton remains were carefully marked, labeled and shipped to Prof. Dr. H. Zaw Htun of the Faculty of Anatomy, Institute of Medicine, Yangon for scientific examination.
Dr. Zaw Htun’s findings indicated that the remains were of a healthy Mongolian male, 25 years old and 5’ 5” tall. The cause of death was due to a heavy blow delivered to the right temple.
Beads
A total of 780 beads, comprising large numbers of earthenware beads and (29) stone beads were recovered from the excavations. At building No. (17) alone 500 beads were found and possibly indicates that the building was some sort of bead factory. Some of the stone beads were coloured either red or yellow or black. The art of colouring stone beads seems to have reached an unprecedented high during the Pyu period.
Conclusion
Beikthano was destroyed in the 4th or 5th Century C.E. Buildings and city gates were consumed by fire, indicating that it was the result of enemy attack. After a short period as a ruined city, it was rebuilt again as a succeeding kingdom, only to be sacked again and burnt to the ground. However the Pyu people continued to occupy the surrounding countryside in spite their no longer having city-walls and a Palace to protect them. The next Pyu kingdom was established down-river at Thayekhittara (Sri Kshestra), 5 miles west of Pyay that grew to prominence during the 4th and 5th Centuries CE.
Monday, August 6, 2007
10MYANMAR ARTS
Panbe ( the art of blacksmith )
The art of Panbe ( black smith ) is the tempering of iron in the furnace to make necessary items. The artisans make ox cart axle, ox cart iron, tyre, scissors, hammer, adze, pickaxe, knife, hatchet, axe, digging hoe and mattock. The Myanmar’s traditional blacksmith craft emerged in the early of Bagan period (11th century A.D) and it had improved in the mid Bagan Ava and Yadanapon period. Myanmar’s traditional blacksmith craft, from Inlay region were famous in the Yadanapon period.Many types of blacksmith craft articles are available, such as military armour, weapons, file, pickaxe, mattock, hoe sword, etc. The Myanmar’s traditional blacksmith craft is very famous in the South East Asia and constitute one of the artistic wonders of the world.
Panbu ( the art of sculpture )
The art of Panbu ( Sculpture ) means the one which produces figures and floral designs made of wood or ivory. The artisans make the figure of human beings and animals and floral designs. Myanmar’s traditional sculpture emerged before the Bagan period and it improved in the middle of Bagan Era. Myanmar’s sculpture base the religion of Buddhism which arrived from Southern India in the 11th century A.D.Most of the wood sculptures of Bagan and Ava periods have been lost under various circumstances and only a few are left today. One outstanding wood sculpture belonging to the Bagan period is the one at the old portal of Shwesigone pagoda at Nyaung-U. Those who want to see wood sculptures of Yatanapon (Mandalay) or latter Yadanapon periods should visit following places:
*Shwe-inbin Monastery, Mandalay
*Bakaya Monastery, Inwa
Myanmar’s traditional sculpture contains wood sculpture stone sculpture and plaster sculpture but more wood sculptures will be seen in many arts and crafts shops, in many cities of Myanmar. The wood sculptures are liked by many people in the world to-day.
Pantain ( the art of gold and silver smith )
The art of Pantain ( gold or silver smith ) is an enterprise of making items of gold or silver. Silver smith is the art of making drinking bowl, receptacle bowl, prize-cup, shield and belt. Gold smith is the art of making ear-plug, ear-drops, ear-ring, with a screw-on back piece, finger-ring bracelet , Pendent and necklace. Myanmar’s traditional arts and crafts artistic creation of gold and silver wares come under the genre (ba-dain) art of making items in gold or silver. Creating silverware had been with Myanmar for the past one thousand two hundered years, and judging from the workmanship of the silverware that belong to those early years, it is indeed something for the Myanmar’s to crow about. According to the crystal palace chronicles, during the reign of King Anawrahta the relices of Buddha and the three repositories of Buddhist scriptures were brought to Bagan from Suvunna Boumi, the mon capital, along with them came mon artisans and works of mon arts and crafts, gold and silverware etc. Going further back into the past, we find Pyu silver works of art discovered from the mounts of old shrines of Sri Ksetra.
Pantin ( the art of bronze casting )
The art of Pantin is an enterprise producing materials of copper, bronze or brass. The artisans make triangular brass gong, gong, and brass bowl for monk, weights in the shape of brainy ducks, tray, copper pot, cup bowl, cymbal, bell jingle bell and small brass gong. Myanmar’s traditional coppersmith’s craft emerged before Bagan period and it improved during Bagan and Ava period. Every pagoda in Myanmar has bells, which were struck to tell the people of good deeds done. They are triangular bells which twirl when struck and ring with a sweet rising and falling tone, which gradually fades away. Moreover there are gongs, slung from carved ivory or wood elephant trunks, which are prized as dinner gongs. Different sizes and shapes of bells, all unmistakably Burmese in design, are popular as souvenirs. So are other castings such as weights and cow bells.
Pantaut ( the art of making floral designs using masonry )
The art of Pantaut ( stucco sculpture ) means a handicraft of making decorative floral designs in relief with stucco. The artisans make the figures of lions, dragons and floral designs with stucco. Myanmar traditional stucco carving emerged before the Bagan period and it improved in the Bagan, Ava, Amarapura and Yadanapon period. According to the historical records, Stucco works were very famous in Bagan period. Stucco works of Bagan period have detailed decorations. After Bagan we had Stucco carvings of mid-Konbaung or Amarapura period, which are very Burmese in style and very fine. The curled leaves and buds, though few, look very beautiful. The buds and flowers in bunches in the centre of the portal at U Kin-danke are unique. Menu’s brick monastery at Ava stands magnificently today with wooden pyathad durrets above it. The great building itself is a work of art to command our admiration.
Panyan ( the art of bricklaying and masonry )
The art of Panyan ( mason ) is an enterprise which constructs the buildings using bricks, stones and cement. The masons build brick houses, Pagoda, bridges. Myanmar’s traditional masonry works enjoys world wide renown for the ancient Pagodas and other religious buildings around the Bagan region. The Myanmar’s traditional masonry of Bagan period is the highest developed of all the historical periods. Their works are remarkable for their strength, grandeur beauty of form, immensity of volume, detailed and appropriate decorations and the power to hold the spectators in awe. The masonry of mid Amarapura period is beautiful and lively but to be placed only in the second order, behind Bagan. The Myanmar’s traditional masonry have derived from the mon’s culture of Suvanna Bhumi and in the Southern Indian’s culture flun the 11th century A.D. In Fact - Masonry in Myanmar emerged since the Pyu period in the 1st century A.D.
Pantamault ( the art of sculpting with stone )
The art of Pantamault ( stone sculpture ) is the one stones curving. The artisans make Buddha images pole for sima, pillar, leograph, elephants, deer, circular flat stone, pestle and mortar and table. Sculpture in stone is a significant feature of Myanmar fine arts, has to this day been the pride and honour of Myanmar people. There are sculpture studios or workshops in Yangon, Mandalay and other towns in the country, but the majority of studios are concentrated in Mandalay. Very fine works of art in stone are to be seen at plaques depicting the life of the Buddha at Ananda, Bagan. Flower designs in the interior of the portal at Kyawkku-U min, Naung-U Nanhpaya, Myinkapa plaques partraying the 550 Buddhist birth-stories at Puhtotawkyi, Amarapura and the great image at Kyauktawkyi, at the foot of Mandalay Hill.
Panpoot ( the art of turning designs on the lathe )
The art of Panpoot is an enterprise to make wooden utensils turning on turners lathe. Such as making shaft of umbrella, table legs, and legs of bed and turnery posts for Pavilions and railings. Myanmar’s traditional crafts of a turner emerged in the Bagan period in the 8th century A.D. The craft of a turner is an art which is made by rubbing the woods on the turner’s lathe. Craft of a turner artists based on the traditional styles of Bagan, Ava and Yatanapon period. Besides that, Myanmar’s craft of a turner artists is very interesting. Diversity in the shape of the craft of a turner, food containers, boxes, bowls, taunglon tables, chairs etc. all makes them attractive. The Myanmar’s traditional arts and crafts owed a great deal of influence of Mon, the people of suvanna Bhumi-artists and artisans the Southern India’s culture in the early Bagan period.
Panchi ( the art of painting )
The art of Panchi ( painting ) is the one which illustrates living animals and inanimate objects using different colours. The artists paint the figures of human beings, animals, objects, scenery designs and cartoons. Myanmar traditional painting developed with the religion of Buddhism in the Bagan Region. Thus, Bagan become a repository of ancient Myanmar traditional paintings and sculptures in the 11th century A.D. Because of Myanmar artist’s achievements, we have more paintings of Konbaung period than those of Ava, they are more colourful and lively. During Yadanapon of Mandalay period more painting was done in folding books called purapaik and on canvas than on the wall. The wall paintings at Mahamuni Pagoda in Mandalay were executed in later Yadanapon period. Most of these paintings have been copied and collected by the Archaeological Department, Myanmar.
Panyun ( the art of making lacquer ware )
The art of Panyun ( Lacquerware ) means a handicraft which produces materials made of bamboo, wood and thick black varnish (sis-se). Lacquerware artisans produce alms food bowl, bowl for monk, and bowl of pickle tea, lacquer vessel, drinking cup, betel box, and cheroot box. Myanmar traditional lacquerware emerged in the early part of Bagan period. Myanmar traditional lacquer ware drawing styles derived from many stories of Buddha’s life. Burmese lacquerware is one such product, whose art goes back to the 11th century. On a framework of woven, finely cut strips of bamboo, mixtures of thit-see resin with clay and ash are carefully built-up and finally polished with the ash of fossil wood. The designs are then etched or painted by hand. The most traditional Burmese lacquerware is of a unique terracotta colour, with scenes from the jatakas, the Buddha’s former existence, etched and then filled in with green pigment. More modern designs are in deep, velvet black, with simpler figures laid on in gennine gold leaf. Many types of Burmese lacquerware articles are available, such as boxes, vases, trays, bowls and even coffee tables. Bagan, site of the architectural wonders of the East, is the home of this craft.
The art of Panbe ( black smith ) is the tempering of iron in the furnace to make necessary items. The artisans make ox cart axle, ox cart iron, tyre, scissors, hammer, adze, pickaxe, knife, hatchet, axe, digging hoe and mattock. The Myanmar’s traditional blacksmith craft emerged in the early of Bagan period (11th century A.D) and it had improved in the mid Bagan Ava and Yadanapon period. Myanmar’s traditional blacksmith craft, from Inlay region were famous in the Yadanapon period.Many types of blacksmith craft articles are available, such as military armour, weapons, file, pickaxe, mattock, hoe sword, etc. The Myanmar’s traditional blacksmith craft is very famous in the South East Asia and constitute one of the artistic wonders of the world.
Panbu ( the art of sculpture )
The art of Panbu ( Sculpture ) means the one which produces figures and floral designs made of wood or ivory. The artisans make the figure of human beings and animals and floral designs. Myanmar’s traditional sculpture emerged before the Bagan period and it improved in the middle of Bagan Era. Myanmar’s sculpture base the religion of Buddhism which arrived from Southern India in the 11th century A.D.Most of the wood sculptures of Bagan and Ava periods have been lost under various circumstances and only a few are left today. One outstanding wood sculpture belonging to the Bagan period is the one at the old portal of Shwesigone pagoda at Nyaung-U. Those who want to see wood sculptures of Yatanapon (Mandalay) or latter Yadanapon periods should visit following places:
*Shwe-inbin Monastery, Mandalay
*Bakaya Monastery, Inwa
Myanmar’s traditional sculpture contains wood sculpture stone sculpture and plaster sculpture but more wood sculptures will be seen in many arts and crafts shops, in many cities of Myanmar. The wood sculptures are liked by many people in the world to-day.
Pantain ( the art of gold and silver smith )
The art of Pantain ( gold or silver smith ) is an enterprise of making items of gold or silver. Silver smith is the art of making drinking bowl, receptacle bowl, prize-cup, shield and belt. Gold smith is the art of making ear-plug, ear-drops, ear-ring, with a screw-on back piece, finger-ring bracelet , Pendent and necklace. Myanmar’s traditional arts and crafts artistic creation of gold and silver wares come under the genre (ba-dain) art of making items in gold or silver. Creating silverware had been with Myanmar for the past one thousand two hundered years, and judging from the workmanship of the silverware that belong to those early years, it is indeed something for the Myanmar’s to crow about. According to the crystal palace chronicles, during the reign of King Anawrahta the relices of Buddha and the three repositories of Buddhist scriptures were brought to Bagan from Suvunna Boumi, the mon capital, along with them came mon artisans and works of mon arts and crafts, gold and silverware etc. Going further back into the past, we find Pyu silver works of art discovered from the mounts of old shrines of Sri Ksetra.
Pantin ( the art of bronze casting )
The art of Pantin is an enterprise producing materials of copper, bronze or brass. The artisans make triangular brass gong, gong, and brass bowl for monk, weights in the shape of brainy ducks, tray, copper pot, cup bowl, cymbal, bell jingle bell and small brass gong. Myanmar’s traditional coppersmith’s craft emerged before Bagan period and it improved during Bagan and Ava period. Every pagoda in Myanmar has bells, which were struck to tell the people of good deeds done. They are triangular bells which twirl when struck and ring with a sweet rising and falling tone, which gradually fades away. Moreover there are gongs, slung from carved ivory or wood elephant trunks, which are prized as dinner gongs. Different sizes and shapes of bells, all unmistakably Burmese in design, are popular as souvenirs. So are other castings such as weights and cow bells.
Pantaut ( the art of making floral designs using masonry )
The art of Pantaut ( stucco sculpture ) means a handicraft of making decorative floral designs in relief with stucco. The artisans make the figures of lions, dragons and floral designs with stucco. Myanmar traditional stucco carving emerged before the Bagan period and it improved in the Bagan, Ava, Amarapura and Yadanapon period. According to the historical records, Stucco works were very famous in Bagan period. Stucco works of Bagan period have detailed decorations. After Bagan we had Stucco carvings of mid-Konbaung or Amarapura period, which are very Burmese in style and very fine. The curled leaves and buds, though few, look very beautiful. The buds and flowers in bunches in the centre of the portal at U Kin-danke are unique. Menu’s brick monastery at Ava stands magnificently today with wooden pyathad durrets above it. The great building itself is a work of art to command our admiration.
Panyan ( the art of bricklaying and masonry )
The art of Panyan ( mason ) is an enterprise which constructs the buildings using bricks, stones and cement. The masons build brick houses, Pagoda, bridges. Myanmar’s traditional masonry works enjoys world wide renown for the ancient Pagodas and other religious buildings around the Bagan region. The Myanmar’s traditional masonry of Bagan period is the highest developed of all the historical periods. Their works are remarkable for their strength, grandeur beauty of form, immensity of volume, detailed and appropriate decorations and the power to hold the spectators in awe. The masonry of mid Amarapura period is beautiful and lively but to be placed only in the second order, behind Bagan. The Myanmar’s traditional masonry have derived from the mon’s culture of Suvanna Bhumi and in the Southern Indian’s culture flun the 11th century A.D. In Fact - Masonry in Myanmar emerged since the Pyu period in the 1st century A.D.
Pantamault ( the art of sculpting with stone )
The art of Pantamault ( stone sculpture ) is the one stones curving. The artisans make Buddha images pole for sima, pillar, leograph, elephants, deer, circular flat stone, pestle and mortar and table. Sculpture in stone is a significant feature of Myanmar fine arts, has to this day been the pride and honour of Myanmar people. There are sculpture studios or workshops in Yangon, Mandalay and other towns in the country, but the majority of studios are concentrated in Mandalay. Very fine works of art in stone are to be seen at plaques depicting the life of the Buddha at Ananda, Bagan. Flower designs in the interior of the portal at Kyawkku-U min, Naung-U Nanhpaya, Myinkapa plaques partraying the 550 Buddhist birth-stories at Puhtotawkyi, Amarapura and the great image at Kyauktawkyi, at the foot of Mandalay Hill.
Panpoot ( the art of turning designs on the lathe )
The art of Panpoot is an enterprise to make wooden utensils turning on turners lathe. Such as making shaft of umbrella, table legs, and legs of bed and turnery posts for Pavilions and railings. Myanmar’s traditional crafts of a turner emerged in the Bagan period in the 8th century A.D. The craft of a turner is an art which is made by rubbing the woods on the turner’s lathe. Craft of a turner artists based on the traditional styles of Bagan, Ava and Yatanapon period. Besides that, Myanmar’s craft of a turner artists is very interesting. Diversity in the shape of the craft of a turner, food containers, boxes, bowls, taunglon tables, chairs etc. all makes them attractive. The Myanmar’s traditional arts and crafts owed a great deal of influence of Mon, the people of suvanna Bhumi-artists and artisans the Southern India’s culture in the early Bagan period.
Panchi ( the art of painting )
The art of Panchi ( painting ) is the one which illustrates living animals and inanimate objects using different colours. The artists paint the figures of human beings, animals, objects, scenery designs and cartoons. Myanmar traditional painting developed with the religion of Buddhism in the Bagan Region. Thus, Bagan become a repository of ancient Myanmar traditional paintings and sculptures in the 11th century A.D. Because of Myanmar artist’s achievements, we have more paintings of Konbaung period than those of Ava, they are more colourful and lively. During Yadanapon of Mandalay period more painting was done in folding books called purapaik and on canvas than on the wall. The wall paintings at Mahamuni Pagoda in Mandalay were executed in later Yadanapon period. Most of these paintings have been copied and collected by the Archaeological Department, Myanmar.
Panyun ( the art of making lacquer ware )
The art of Panyun ( Lacquerware ) means a handicraft which produces materials made of bamboo, wood and thick black varnish (sis-se). Lacquerware artisans produce alms food bowl, bowl for monk, and bowl of pickle tea, lacquer vessel, drinking cup, betel box, and cheroot box. Myanmar traditional lacquerware emerged in the early part of Bagan period. Myanmar traditional lacquer ware drawing styles derived from many stories of Buddha’s life. Burmese lacquerware is one such product, whose art goes back to the 11th century. On a framework of woven, finely cut strips of bamboo, mixtures of thit-see resin with clay and ash are carefully built-up and finally polished with the ash of fossil wood. The designs are then etched or painted by hand. The most traditional Burmese lacquerware is of a unique terracotta colour, with scenes from the jatakas, the Buddha’s former existence, etched and then filled in with green pigment. More modern designs are in deep, velvet black, with simpler figures laid on in gennine gold leaf. Many types of Burmese lacquerware articles are available, such as boxes, vases, trays, bowls and even coffee tables. Bagan, site of the architectural wonders of the East, is the home of this craft.
नाग्पली BEACH
Ngapali Beach
The best beach resort in Myanmar, also once known as the "Naples of the East", is located on the northern coast in Rakhine State. Nagpali is an unpolluted, unspoiled beach stretching over 3 km with crystal clear blue sea and clean white sands fringed with coconut groves as far as your eyes can see. This unspoiled beach is 35 minutes flight from Yangon or 14 hour drive along the narrow winding road over the Rakhine Yoma ( Mountain Range) after crossing the Ayarwaddy River at Pyay (Prome).
There are no loud beachside bars, no rows of suntan-oiled bodies basking in the sun and no vendors pressing you to buy souvenirs. Instead guest will only find the idle seaside character of - the sea, the sand and the sun. The fiery sunset, for which the Bay of Bengal is noted for, can be watched right from your doorstep. The 18-hole Golf course is located 15 minutes drive from the beach to fulfill the taste of beach golfers.
Nearby fishing villages are also interesting places for visitors to the beach. If you are eager to have a look at natural and primitive sceneries, it is where you can witness how fishermen set and draw drift nets and how their family supports them in the workplace. Ngapali Beach opens from October to May.
The best beach resort in Myanmar, also once known as the "Naples of the East", is located on the northern coast in Rakhine State. Nagpali is an unpolluted, unspoiled beach stretching over 3 km with crystal clear blue sea and clean white sands fringed with coconut groves as far as your eyes can see. This unspoiled beach is 35 minutes flight from Yangon or 14 hour drive along the narrow winding road over the Rakhine Yoma ( Mountain Range) after crossing the Ayarwaddy River at Pyay (Prome).
There are no loud beachside bars, no rows of suntan-oiled bodies basking in the sun and no vendors pressing you to buy souvenirs. Instead guest will only find the idle seaside character of - the sea, the sand and the sun. The fiery sunset, for which the Bay of Bengal is noted for, can be watched right from your doorstep. The 18-hole Golf course is located 15 minutes drive from the beach to fulfill the taste of beach golfers.
Nearby fishing villages are also interesting places for visitors to the beach. If you are eager to have a look at natural and primitive sceneries, it is where you can witness how fishermen set and draw drift nets and how their family supports them in the workplace. Ngapali Beach opens from October to May.
MRAUK U
Mrauk U
One of the best archaeological site as attraction is situated in Yakhine State, on the South-Western part of Myanmar. The ancient capital founded by Rakkhine King Minsawmon in 1433 AD.. Mrauk U period flourished between 15th century and 18th century. The city is 80 km from the north of Sittwe, port city once known as the Golden Gate by the west. The early 17th century was Rakhine's Golden Age for it's trading with western countries such as Holland, Spain, Portugal, Maldives, Italy and south India. The temples and Pagodas are strategically located on the hilltops and look like fortresses. There are many countless Images spreading all over with some are in ruins and influenced by Indian culture and civilization. Shitthaung Pagoda, Kothaung Pagoda, Anndawthein, Laungbonpyauk, Dukkhanthein, and Pitaakataik are famous ancient Temples with countless stupas. About 8km from Mrauk-U is Ve'Sali, an archeological zone from 4th century. This ancient city is earlier than Mrauk-U period. Ve'Sali was succeeded by a series of small cities although Mrauk-U remained.
One of the best archaeological site as attraction is situated in Yakhine State, on the South-Western part of Myanmar. The ancient capital founded by Rakkhine King Minsawmon in 1433 AD.. Mrauk U period flourished between 15th century and 18th century. The city is 80 km from the north of Sittwe, port city once known as the Golden Gate by the west. The early 17th century was Rakhine's Golden Age for it's trading with western countries such as Holland, Spain, Portugal, Maldives, Italy and south India. The temples and Pagodas are strategically located on the hilltops and look like fortresses. There are many countless Images spreading all over with some are in ruins and influenced by Indian culture and civilization. Shitthaung Pagoda, Kothaung Pagoda, Anndawthein, Laungbonpyauk, Dukkhanthein, and Pitaakataik are famous ancient Temples with countless stupas. About 8km from Mrauk-U is Ve'Sali, an archeological zone from 4th century. This ancient city is earlier than Mrauk-U period. Ve'Sali was succeeded by a series of small cities although Mrauk-U remained.
KYAIKTIYO
Kyaiktiyo (Golden Rock) in Kyaikhto
KYAIKHTO is a small town and popular for its wish fulfill Golden Rock Pagoda. About 160 km from Yangon. This mystical Pagoda is about 18ft tall and is built on a huge boulder about 50ft in girth. This boulder is balancing precariously on the edge of 18ft high rock and separated from the mountain edge by a deep chasm over 1100M above sea level. It is indeed an overwhelming sight, how the boulder keeps its balance is beyond comprehension, but it was been there for 2500 years.
There is a steep road winding up from Kinpun base camp to Golden Rock about 13 miles by truck. There are only few Hotels with modern facilities for the visitors.
Kyaiktiyo - Golden Rock
This mystical pagoda built in the enshrinement of Buddha relic stands on a gold gilded boulder, precariously perched on the edge of the hill over 1100 km above sea-level.
The big boulder the circumference of which is about 50 feet, rests on top - to be exact - on the edge of the rock. At a glance, with ignorance of the gravity, it appears that the boulder will fall at a slight push. The shape of boulder is like a human head. A small pagoda 23 feet high, was built on top of that boulder. By using a piece of bamboo strips as a lever, with a piece of thread tied to one end and placed under the rock you can pass the thread from one side to the other side of the boulder which goes to show that the boulder supporting the Kyaiktiyo Pagoda does not touch the rock below it. The pagoda on top of the boulder is called in Mon language Kyaik-I -thi-ro, which means "pagoda carried by a hermit on the head" Kyaik-I-thi-ro later came to be known as Kyaiktiyo Pagoda. The hill on which the Pagoda stands is also called Kyaiktiyo Hill.It takes about 5 hours to reach Kinpun base camp at the foot of the hill. When getting there, you can enjoy 'trekking taking 4 fours' or 'a steep winding motorway heading to the nearest camp of the pagoda. Many legends about the pagoda and the 'nats' or 'spirits' can not be counted. Kyaikto, the town at the foot of the hill, is about 160 km from Yangon. It is a 11 km uphill climb for the hikers from Kinpun base camp. There is also a steep winding road for 4-wheel drive cars from the base to the nearest point of the pagoda. There are many legends about the pagoda and the 'nats' or 'spirits'. Kyaikhto Hotel and Golden Rock Hotel have modern facilities for tourists.
KYAIKHTO is a small town and popular for its wish fulfill Golden Rock Pagoda. About 160 km from Yangon. This mystical Pagoda is about 18ft tall and is built on a huge boulder about 50ft in girth. This boulder is balancing precariously on the edge of 18ft high rock and separated from the mountain edge by a deep chasm over 1100M above sea level. It is indeed an overwhelming sight, how the boulder keeps its balance is beyond comprehension, but it was been there for 2500 years.
There is a steep road winding up from Kinpun base camp to Golden Rock about 13 miles by truck. There are only few Hotels with modern facilities for the visitors.
Kyaiktiyo - Golden Rock
This mystical pagoda built in the enshrinement of Buddha relic stands on a gold gilded boulder, precariously perched on the edge of the hill over 1100 km above sea-level.
The big boulder the circumference of which is about 50 feet, rests on top - to be exact - on the edge of the rock. At a glance, with ignorance of the gravity, it appears that the boulder will fall at a slight push. The shape of boulder is like a human head. A small pagoda 23 feet high, was built on top of that boulder. By using a piece of bamboo strips as a lever, with a piece of thread tied to one end and placed under the rock you can pass the thread from one side to the other side of the boulder which goes to show that the boulder supporting the Kyaiktiyo Pagoda does not touch the rock below it. The pagoda on top of the boulder is called in Mon language Kyaik-I -thi-ro, which means "pagoda carried by a hermit on the head" Kyaik-I-thi-ro later came to be known as Kyaiktiyo Pagoda. The hill on which the Pagoda stands is also called Kyaiktiyo Hill.It takes about 5 hours to reach Kinpun base camp at the foot of the hill. When getting there, you can enjoy 'trekking taking 4 fours' or 'a steep winding motorway heading to the nearest camp of the pagoda. Many legends about the pagoda and the 'nats' or 'spirits' can not be counted. Kyaikto, the town at the foot of the hill, is about 160 km from Yangon. It is a 11 km uphill climb for the hikers from Kinpun base camp. There is also a steep winding road for 4-wheel drive cars from the base to the nearest point of the pagoda. There are many legends about the pagoda and the 'nats' or 'spirits'. Kyaikhto Hotel and Golden Rock Hotel have modern facilities for tourists.
PINDAYA CAVE
PINDAYA CAVE
Pindaya is situated at 1164-m above sea level and is 40-km from Kalaw. It is noted for its extensive limestone caves and Shwe U Min Paya which is full of Buddha images of about 8000 a and picturesque Boutaloke Lake. Pindaya itself is a centre for the Myanmar speaking Taung-yo people. Local handicrafts include Shan paper and parasols made from mulberry bark.The town's symbol is a spider. According to the legend, seven princesses bathing in the lake took refuge in the cave during a storm where they were imprisoned by a giant spider. It is a good place to begin short treks to surrounding Danu, Pa-O, Palaung and taung-yo villages.
Pindaya Caves
The Pindaya caves are in limestone ridge overlooking the Pindaya lake and is full of thousands of Buddha images made from alabaster, teak, marble, brick, lacquer and cement which have been put there over centuries and arranged in such a way as to form a labyrinth throughout the various cave chambers. In these caves, you may come across lay people practicing meditation. The Pindaya caves are in limestone ridge overlooking the Pindaya lake and is full of thousands of Buddha images made from alabaster, teak, marble, brick, lacquer and cement which have been put there over centuries and arranged in such a way as to form a labyrinth throughout the various cave chambers. In these caves, you may come across lay people practicing meditation.
Pindaya is situated at 1164-m above sea level and is 40-km from Kalaw. It is noted for its extensive limestone caves and Shwe U Min Paya which is full of Buddha images of about 8000 a and picturesque Boutaloke Lake. Pindaya itself is a centre for the Myanmar speaking Taung-yo people. Local handicrafts include Shan paper and parasols made from mulberry bark.The town's symbol is a spider. According to the legend, seven princesses bathing in the lake took refuge in the cave during a storm where they were imprisoned by a giant spider. It is a good place to begin short treks to surrounding Danu, Pa-O, Palaung and taung-yo villages.
Pindaya Caves
The Pindaya caves are in limestone ridge overlooking the Pindaya lake and is full of thousands of Buddha images made from alabaster, teak, marble, brick, lacquer and cement which have been put there over centuries and arranged in such a way as to form a labyrinth throughout the various cave chambers. In these caves, you may come across lay people practicing meditation. The Pindaya caves are in limestone ridge overlooking the Pindaya lake and is full of thousands of Buddha images made from alabaster, teak, marble, brick, lacquer and cement which have been put there over centuries and arranged in such a way as to form a labyrinth throughout the various cave chambers. In these caves, you may come across lay people practicing meditation.
Saturday, August 4, 2007
တစ္၀က္တစ္ပ်က္စိတ္
တစ္၀က္တစ္ပ်က္စိတ္
လုပ္ရေကာင္းမလား
မလုပ္ဘဲေနရေကာင္းမလား
အဲသည္လုိ ခ်ီတုံခ်တံုလုပ္တာဟာ
မစူးစမ္းမဆင္ျခင္ဘဲ
အလုပ္တစ္ခု ရမ္းလုပ္တာထက္ေတာင္
ပုိျပီးဆုိးတယ္။
သေဘာကေတာ့
စက္ကြင္းကုိ ျမားနဲ့ပစ္တာဟာ
ဘယ္လုိပဲ မွန္းပစ္ပစ္
မွန္ႏုိင္ေသးတယ္မဟုတ္လား။
တက္တု္ိး
လုပ္ရေကာင္းမလား
မလုပ္ဘဲေနရေကာင္းမလား
အဲသည္လုိ ခ်ီတုံခ်တံုလုပ္တာဟာ
မစူးစမ္းမဆင္ျခင္ဘဲ
အလုပ္တစ္ခု ရမ္းလုပ္တာထက္ေတာင္
ပုိျပီးဆုိးတယ္။
သေဘာကေတာ့
စက္ကြင္းကုိ ျမားနဲ့ပစ္တာဟာ
ဘယ္လုိပဲ မွန္းပစ္ပစ္
မွန္ႏုိင္ေသးတယ္မဟုတ္လား။
တက္တု္ိး
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