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Mindon's Mandalay

By Wyn Tin Tu


Photos: Maung Maung Latt (Chit Nyo) & Sonny Nyein

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Mandalay is a name that brings a sense of romance and of
splendour even to those who has never been there. It is now the second capital
of Myanmar and has the most revered pagoda after the Shwedagon, the Mahamuni
Image. This image, apart from the face, has been gold-Ieafed so thickly that the
torso and limbs have lost their shape.



Mandalay was also the last seat of the Myanmar kings.



The King who built this city from empty land was Mindon, who reigned from 1853
to 1878. In 1856 he was residing in the capital of Amarapura, which he deemed no
longer fortuitous.



Many thought him impetuous, but he had his reasons. In 1852, just one year
before Mindon deposed of his brother King Bagan and took the throne, Myanmar had
lost the fertile southern delta lands to the British. Mindon was unhappy that a
war was lost while reigning from Amarapura. Also, in August of 1855, Sir Arthur
Phayre returned as an emissary to Amarapura, but he sailed his gunboat up the
Myitgne River and right into Taungthaman Lake, thus landing very near to the
palace grounds. Mindon did not like the fact that foreigners could come so close
to the palace and using a gunboat was an ungracious gesture if not actually a
veiled threat.

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Mandalay Hill towers above the city

Many Abbots and astrologers were opposed to the move but the
king stood firm. The astrologers then had to calculate to the exact times so as
to ensure the best fortune. Even the sawing of planks had to start according to
astrological readings that were calculated by Brahmin scholars. Many rituals
such as the first breaking of the ground were done with due ceremony. The full
official name of this old capital was Amarapura Mandalar,and the king decided to
take the last word and named the new capital Mandalay.



Starting from scratch, the king was able to design the city to his liking: with
wide streets set in a grid pattern, and his palace enclosed within the city
walls which streched one mile long on each of its four sides, surrounded by a
moat. Inside these walls, the center area was enclosed again for the king's own
palaces. Outside of this Royal compound and within the city walls are houses of
ministers and nobles, several homes for the aged dowager, minor queens'
apartments and barracks.

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The Mya Nan San Kyaw Golden Palace. The two huge cannons guard the entrance.

All the details were recorded on the traditional palm-leaf manuscripts.



Installing the city wall gates also began at the same minute.



In the city walls are 12 gates, to signify the 12 months. The gates were topped
with roofs having seven tiers.The 4 bridges spanning the moat are at the four
compass points. Along the wall are 48 pavilions with tiered roofs, to symbolize
the 48 weeks of the lunar calendar. The city wall was 600 'ta' long (1.19 mile)
on each side, totaling 2400 'ta': the number of the Buddhist era at the time.



To bring glory to the city, four glazed jars were filled with 120 viss (I viss=3.6
Ibs.) of a mixture of sesame and mustard oils, then tightly covered, and buried
in the four corners of the wall: "on the 13th, day of the Waxing Moon Month of
Kason, precisely at 2 strokes by the clock early on Sunday morning."

The building of the palace too was calculated with symbolism.
There were a total of 360 teak pillars in the whole palace, signifying the 360
days of the lunar calendar.

The seven-tiered golden roofs atop the Mya Nan San Kyaw Palace

One of the most beautiful palace pavilions was the Glass
Palace, which had interior walls and pillars completely covered with glass
mosaic. Later, a group of scholars gathered there daily to write the history
books by order of the king, and their works were titled The Glass Palace
Chronicles. The main Great Audience Hall housed the Thiha Thana Lion Throne and
was considered the center of the Earth.

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Doorway to the interior. It was heavily gilded with gold during the King's reign

In 1859 King Mindon entered Mandalay with pomp and ceremony, accompanied by
marching lines of infantry, cavalry, and court officials; rows of ministers and
ladies, Brahmins, and learned men; musicians and dancers.



White and gold umbrellas were held aloft, with banners and insignia flashing in
the sunlight; elephants and horses pace solemnly to the beats of the Big Royal
Drum; the procession marched on pathways of white sand bordered with latticed
fences of bamboo. At intervals young trees of banana and sugar cane were planted
to decorate the way with their green leaves. Kneeling commoners lined the route,
paying obeisance with bowed heads and clasped hands.



But after the British occupation in 1885 and the bombs of
World War II, none of the timber pavilions of the palace remain, except for the
one King Mindon had used as his private apartments. It has already been moved
out of the palace when he passed away and donated as a monastery by his
successor King Thibaw. Thus it escaped destruction, and can be seen near the
Kuthodaw pagoda. It is an exquisitely carved timber pavilion, once thickly
coated with gold leaf inside and out, and so known as the shwenandaw Kyaung, the
Golden Palace monastery.

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View from the watchtower showing the various chambers inside the palace compound

On dismantling the pavilion, the carpenters had come upon three poems written by
King Mindon, about three of his senior queens.

The Nan Myint or watchtower

The Chief Queen Sekya Devi of the Southern Palace he praised
as noble and wise. She bore no children, and was a very kind lady, a true
princess of full Royal blood. She often advised the king who adored and
respected her. She was learned in astronomy and spoke two foreign languages,
presumably English and French. She alone was allowed to dress the king's long
hair every morning until her death, and then he combed his hair himself, unheard
of action for a Myanmar king. No other queen was allowed to move into her palace
after she passed away, and no one elevated to her position.



The queen of the Northern Palace was his childhood sweetheart, a commoner by the
name of Khin Thair, a poetess in her own right and was more known for her talent
than as her role as queen. She was the king's first love, and they had married
long before he became king.

Two lions guarding the stairs to Mandalay Hills

He wrote that her graying hair was simply coiled around a
comb, and she wore no gold but only onyx earrings in her ears. She had on yellow
silk, and no perfume. "So simply adorned, but what charm has she," he wrote. "If
the Celestial King wants me to exchange her for an angel, no, I will not. Always
she is precious to me."



About his fierce-tempered Middle Palace Queen Hsin Byu Ma Shin he wrote, "So
beautiful, like an angel, but with such a foul temper, in one hour she sulks
many times.There are so many petty things that makes her sullen, she would try
the patience of the King of the Celestials himself."

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King Mindon's tomb at Mandalay

King Mindon probably had been aware that there would be a marital storm should
the poems get into the hands of the queen of the Middle Palace, and had hidden
them. It was this shrewish wife who massacred the other princes to put her
son-in-Iaw Thibaw on the throne after good Mindon passed away. King Mindon was a
religious and kindlymonarch, and with broad views of modernity and diplomacy. In
1858 he received a diplomatic mission bearing a letter of friendship from
President Buchanan of the United States to whom he replied in kind. In 1856 he
sent a mission to Europe, which set up good relations with the French. In the
second mission of 1872 he sent a minister the Kinwun Mingyi U Kaung.The
minister's journal of his travels is still a very popular book, reprinted many
times.



Mindon received many foreign ambassadors as well. He was particularly pleased
when Colesworthy Grant an artist accompanying one British emissary painted a
life-like portrait of the king's white elephant.

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Some coins minted during Mindon's time

King Mindon later hired two Italian painters to work in the
palace and encouraged Royal artists to learn from them.



King Mindon organized the Fifth Buddhist Synod in 1871, and afterwards had 729
marble slabs inscribed with the full Buddhist texts and set up in the compound
of the Mahalawka Marazein Kuthodaw pagoda, which he had donated. He built a
great many temples and numerous monasteries in and around Mandalay and gave
strong support to the improvement of the Order of Monks. An all-teak monastery
he donated still stands near the Mandalay Hill. Another of his many merits was
the Kyauk Taw Gyi Great Stone Image Pagoda at the foot of Mandalay Hill. The
stone image is 27 feet high, carved from a single block of unbIemished white
marble from Sagyin, a quarry not far from Mandalay. On 16th May 1865 the god
king himself came to paint in the eyes of the carved Great Image before it was
opened to the blic.



He knew that western-style education was a key to keep up with the fast changing
world. So even as a staunch Buddhist, he gave land and gold to an Anglican
missionary Dr. Marks and a French Bishop Bigandet to start schools. He sent his
own sons, nephews and sons of nobles to learn English at Dr. Mark's. He also
sent over ninety scholars to study abroad. When they returned, he set up rice
mills, a Royal mint, two munitions factories, metal works, cotton mills, a sugar
refinery, timber mills, a glass factory and an indigo producing factory.

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The Mint now in ruins

His younger brother the Crown Prince Kanaung, who was later
assassinated, oversaw most of the factories. His plan to produceunderwater mines
was put to a stop by an Abbot who protested against the testing by refusing to
eat, as he said water creatures were being killed. Both the king and the crown
prince knew that foreign invaders would use naval forces, but bowing to the
wishes of the Abbot they had stopped the production.




In 1867 he introduced new income tax rules. Before, the fiefdom holders taxed
the people, and took their share before they send the rest to the king's
treasury, which was not a reliable system. Mindon's new laws taxed everyone
according to income and family members. Nobles were no longer given fiefdoms for
good service, but bonuses out of the treasury.



King Mindon built old people's homes, 10 hospitals, with in- and out-patient
departments, and had three doctors always on duty.He set up telegraphs with
Morse code in the Bamar language.



In 1871 the king donated a new 'umbrella' gold tip and enough gold leaf to cover
the whole stupa of the Shwedagon pagoda of Yangon, at that time under British
rule.



In 1875, to make sure his subjects were well informed he became the first
Myanmar publisher of a Bamar language newspaper called the Yadanapon. It
appeared four times a month, dated according to the Myanmar lunar Calendar.



Mandalay as a royal capital left wonderful historical accounts, most of which
was due to the glory and wisdom of its founder, King Mindon.

THE THRONES OF MYANMAR KINGS

By Ma Thanegi

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Old Painting by Royal artist Saya Chone showing the Royal Audience Scence

By definition a throne is a noble seat; and according to
Myanmar chronicles, there are three types of thrones: the seat of the Buddha,
the seat of the King of Celestials and the seat of human monarchs. The three has
a connection, as the King of Celestial's most important virtue is being
protector of Buddhism, and the kings' thrones have a figure of the Celestial
King carved on its apex to symbolize that the human king too, is upholder of the
faith.



Tragically, under the bombs of World War II the last palace in Mandalay was
destroyed. A replica has been built on the site but only one throne out of the
original nine survived.



As two are identical, the Lion Thrones, it is normal to refer to them as the
Eight Thrones. The number eight is in accordance with the Eight Virtues of a
king, which has more to do with the administrative aspects and less with the
honours of the Ten Duties of a king. Such lists predominate traditional ethical
discourses.



The nine requisite thrones which once graced Mandalay palace were carved
simultaneously on Friday, the 11 th Waning Moon Month of Kason, BE 1220, which
would be sometime in May of 1858. Mandalay officially became the capital in
1859.




Different woods and with different motifs were used, such as animal, flower or
bird motifs. The thrones were placed in various pavilions according to the type
of ceremony to be performed in the Royal presence.



The sole surviving throne is one Thiha Thana Lion throne, at present in the
National Museum of Yangon. It is completely gilded with pure gold, and richly
decorated with intricate carvings. As its name implies, the Thiha Thana throne
is based on the lion motif, as lion in the old Pali language is Thiha.



The lion, symbol of courage and power, is an auspicious animal in Myanmar
legends. The Lion Throne is the most important throne, and in the palace it was
placed in the Great Audience Hall also known as the Myey Nan Pyat-that. Myey Nan
means the Earth Pavilion, for the throne rests on a platform of rare and
auspicious earth mixed and packed tight. This throne was directly under the
seven-towered roof of high spires, which marked the center of the power of the
realm. In fact, according to Myanmar chronicles, the very spot under the
seventiered roof was the center of the Earth.

The Lion Throne, now at the National Museum in Yangon

According to a rare palm leaf manuscript written by a Royal
architect named Shwe Taung Nawrahta in 1816, there were not only rigid rules and
specifications for each throne but elaborate ceremonies to be performed even
during the carving process. All In nine thrones must be carved simultaneously in
a specially built and decorated workshop. The wood has to be cut from
unblemished trees, one type of wood for each type of throne, and the tree must
be growing on 'untainted' ground such as places far from cemeteries.



The carvers were given sets of tools of gold and silver; presumably only the
handles are of these precious metals. Exactly at the auspicious time chosen by
court astrologers, the first strokes of cutting began accompanied by music and
dancing and with all ritual food, flowers, incense and homage offerings set out
in order. Supervised by nobles dressed in ceremonial robes, the work must begin
in an instant of calculated time. When it was lunchtime, the workers must all
put down their tools at once. Food was brought in with ceremony and the first
portion presented to the King as a gesture of homage before the rest was given
as out to all those present, beginning with the highest ranking noble down to
the youngest carpenter.



The lion Throne, 34 ft 6" high, was made of Yamanay wood (Gmelina Arborea ), a
rare light wood also used to carve marionettes. The base is in the form of two
lotus blossoms, one upright, and the bottom one inverted. Inside three
horizontal bands there are small niches with lion figurines.




The top of the throne widens and flares up at the sides. In the very center of
the lintel is a spire with a figure of the Celestial King. He represents
protection of the Buddhist faith, and fairness in judging the people. Just above
his image, there are the Nine Noble Gems: Ruby for Glory, Diamond for Honour,
Pearl for Grace, Coral for greatness, Zircon for Strength, Sapphire for
Adoration, Cat's Eye for Power, Topaz for Health and Emerald for Peace.



On the lintel itself there are figures of celestial beings, eight on each
side, standing on lotus blossoms.



On either side of the throne on the doorjambs are four figures of Sama Deva Good
Celestials. They represent the fact that the king sits in the center of the four
corners of the earth. In the middle of the jamb are, on the right, a
rabbit, and a peacock on the left. They are the symbols for the moon and the sun
and signify eternal brilliance.



At the bottom of each jamb are carvings of a lion and an elephant fighting. The
legend goes that as these two powerful animals fought, causing great damage to
the earth, a Deva (Celestial Being) called the Lawka Nat appeared to sing and
dance. His music soothed the anger of the beasts. The Lawka Nat figures are
placed in the center of each door panel. This legend is set into the throne to
symbolize the power of the king as arbiter of disputes and one who brings peace
to the land.




On each side of the throne there is a figure of a Kainaree and a Kainara, the
birdhuman people. They symbolize faithfulness, as well as joy in the propagation
of Buddhism. In a row in front of the throne there are eight figures of male
children, hands raised in prayer. They symbolize growth, and as a child grows so
would the King's glory increase.



Other gold regalia items totaling 35, such as caskets, slippers, fly whisks,
betel boxes and various implements including a chin rest, were displayed on
either side of the throne during three important ceremonies a year. These golden
objects are also on display at the National museum in a separate room.



When the unpolished basic form of the thrones was completed, they were set up
with ceremony and offerings in the different pavilions. Then only was it time
for the gilders to start the decorating process, which they do by using sap of a
gum tree to adhere sheets of , thin gold top the wood. Fake diamonds and rubies
are set into the figures and the floral scrollwork.



Only the King and the Chief Queen were allowed to sit on the Thiha Thana throne.
They could climb up to the throne by a short flight of seven steps behind the
throne and through a door at the back. The stairs were screened off with walls
on either side of the throne so that the audience in the chamber could not see
the Majesties before they were seated. There was also a custom for the King to
present a throne to a prince of a feudal state, and one was said to be presented
to the Sawbwa of Kyaing Ton of the Shan State. Such a throne was not for the
prince to sit on, but to place his hand on it as he ruled in court cases so as
to a symbolize justice.



Only the most important ceremonies were performed in the Great Audience Hall
with the King and Queen seated on the Lion Throne. The three annual ceremonies
of paying homage by subjects to their Majesties were always held in this throne
room.



On New Year's Day, which falls sometime in April according to the Myanmar lunar
calendar members of the Royal Family and nobles came to offer obeisance and
gifts. Similar ceremonies were held in the palace for the beginning of Lent and
to celebrate its end after three months. For this last ceremony, sometime in
October, governors of provinces and rulers of tributary States would come to pay
homage. The Heir to the throne, ministers, officials of the military etc. had to
be present as it was more a political than a religious occasion. The oath of
loyalty was renewed at this ceremony.




The only woman to be present here was the Chief Queen. The other queens however
could look on from the screened-off room behind the throne. Foreign dignitaries
were also given audience in this chamber.



Another Lion Throne, identical to this, was kept in the Hall of Victory chamber
of the Hluttaw Parliament building, where the king conferred with his ministers
twice a day, and issued formal orders or judged important cases.



The other seven thrones were kept in various pavilions used for special
purposes.



The Bhamara Thana Throne (the Bee Throne) was made from Karaway wood (of the
Cinnamomum spp. family) and kept in the Glass Palace. The bee is believed to be
a wise creature and thus the use of it as a motif symbolized the King's wisdom.
This throne was not so ornately decorated. Here, the ceremonies to honour
favourite daughters take place as well as their ears-piercing rituals. At those
occasions Their Majesties would bestow on the princesses gifts of servants,
elephants, cattle, golden barges, orchards etc.



The Padumma Thana Throne, with the lotus motif was carved from the wood of
mango (Mangifera indica), and kept in the Ladies' Audience Hall. It was made in
exactly the same style as the Lion Throne with only the difference in motif. The
deer motif Miga Thana Throne was in the South samoke chamber to the far right of
the Glass Palace, and made from a kind of fig, the Yay th'phan Thar wood. (Ficus
gloremata).



The deer motif symbolized prosperity for the nation. From this throne the King
would inspect gifts to be made to the religious Order, and in this chamber
novitiation ceremonies of his sons took place.




The Marura Thana Throne made of Padauk wood (Pterocarpus macrocarpus) and
bearing peacock motifs was kept in the North samoke pavilion. Here he received
feudal lords of other nationalities who came with gifts of elephants and horses.
In the Jataka tales, the Buddha-to- be as a golden peacock had overcome all
dangers by his love.



The Hintha bird based Hantha Thana Throne was made from a kind of hardwood
Thingan sometimes called the Rock Dhamma.

This was kept in the Zaytawun pavilion set behind the Glass Palace. This was
also where foreign dignitaries had their audience. The Hintha bird is a symbol
of authority, dignity, purity and gentleness.



In the pavilion where the King and Queen liked to take their leisure the Thinga
Thana Throne based with conch shell motifs was

placed. The wood used for this was a kind of jackfruit wood (Artocarpus
heterophyllus).The conch shell, one of the symbols of Buddha, was believed to
bring greater wealth and prosperity to the country. The king received monks and
listened to their sermons in this pavilion, apart from taking afternoon tea.



The last, the Garza Thana Throne was made from White Champac wood (Michelia
Champaca), and was carved with elephant motifs. The elephant symbolized
longevity and sovereignty. It was kept in the Byay Taik, the Privy Council room.
Here the King would preside when appointing officials to his Royal service.




The modern weapons of war destroyed, and will continue to destroy, not only
lives but priceless cultural assets. In spite of this

senselessness the people will still cherish good memories and their heritages in
their hearts.

Kekku:
The Gem in Pa O Land

By: Hpone Thant

Photos: Maung Maung Latt (Chit Nyo)

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The Pa O people inhabiting the area around Taunggyi, Aung Ban, Pindaya, Kalaw,
Hopong Townships etc in the Southern Shan State are very devout Buddhists. Visit
any village in the Pa O area and the biggest buildings are the monasteries; huge
halls, huge Buddha Images.

A two hours' drive from Taunggyi through a landscape dotted with clusters of
villages and fields of red soil, brings you to Kekku. This place has been the
center of worship for the Pa O living in the region for centuries. On a small
plot of elevated land and overlooking the Hopong Valley, ancient pagodas, many
in ruins, stand. Some pagodas are choked by the roots of banyan trees and other
by creeper vines but one thing in common is that the stucco sculptures remain in
relatively good condition under the ravages of time and weather.

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Some recent researches say Kekku was built about 400 years ago. Unfortunately
there is no written record to explain how such a proliferation of pagodas
appeared in such a remote site, and who the donors were. A local rhyme says "
the clicking of the betel cutters of the Pa O (Taung Thu) farmers" to memorise
the number of pagodas here. This means there were 7623 pagodas in this complex!
In 1918 a monk form a nearby village of Naung Hke, the Venerable U Thawna was
able to register a total of 2402 and an engraved stone slab dated 1928 on the
western side however says that there are 2548 small pagodas inside the complex.
But at present approximately 2500 are still around and many are in ruins.
Legends say that King Narapatisithu of Bagan built this pagoda. Others say that
a couple of elderly Pa O farmers found this site after coming upon a golden pig
digging at a huge white ants' nest. Anyhow there is a statue of this golden pig
on the eastern side of the pagoda and pilgrims offer candles and flowers, as
well as food, to this golden pig. Annually in March, on the Full Moon Day of
Tabaung ( March) which is the last month of the Myanmar lunar calendar, the
pagoda festival takes place. Normally the festival will begin two or three days
in advance for this is not just a religious festival but also a social occasion.
It is the time for all to have fun, exchange news and gossips, to trade. For the
younger set it is the time to meet their friends from other villages or the boys
to fall in love with the girls. As it is, all the people of the region arrive by
the thousands, dressed in their traditional costumes. Some come in bullock carts
while others arrive by more modern conveyances, on the village tractor!!

The bullock carts usually congregate under huge banyan trees that surround the
Kekku pagoda compound. Many bring whole families; grandparents, small babies,
even household pets. In the evening the girls, being girls, have to put on their
make-up, to flutter like beautiful butterflies inside the festival grounds for
in the festival grounds there are many performances going on; some traditional
theatre and also modern music troupes. As dusk gathers the festival ground soon
becomes hazy as families get ready to cook. Many bring wares to sell at the
festival and take back home what they need. They also bring food, fruits and
flowers, candles to offer at the shrines. A large pandal in front of the
festival grounds is for the monks to stay and for the pilgrims to offer food to
these monks as acts of merit. In the night the monks congregate here and recite
Buddhist prayers and scriptures. They also give sermons to the devotees during
the daytime.



But the most interesting time to visit this place is to get there before dawn of
the Full Moon day of Tabaung. On that day the Pa O people in all their finery
come with gaily decorated trays bearing morning food offerings for the Buddha
Images. The precinct is filled with black clothed Pa O men and women. The candle
lights illuminate the sombre faces of the pilgrims as they pray in front of the
main pagoda and at other smaller pagodas. A group of Pa O are gathered around a
small and partly ruined pagoda. A Buddha Image is visible, half buried under the
rubble. This Image must have some special wish granting powers for the pilgrims
to crowd around so much.

The sound of gongs and cymbals herald the arrival of various groups of Pa O from
other outlaying villages coming to offer morning food for the Images. The
eastern sky slowly lights up and the shadows slowly fade. But the people are
still streaming into the grounds. A long line of monks file past the standing
devotees to receive steaming hot rice for it is the ultimate merit to offer food
for the monks so that they may continue with their studies and propagate the
Buddhist beliefs.

Whatever the history of Kekku it is a fascinating place to
visit; a place of deep devotion to traditional beliefs and ancient customs. It
is a rare discovery in a land known for its hidden treasures.




Hpone Thant is a regular contributor to Enchanting Myanmar magazine on the
country's customs, traditions and bio-diver-sity. He can be reached

Northern Magic

Northern Myanmar is a magical kingdom.The richness of plant
and animal life, the topography, the tapestry of ethnic diversity are a wonder
for all. Although Myanmar is treated as a tropical country the Tropic of Cancer
passes through the country at a point just north of Katha and the area above is
in the temperate zone. It is a place where the flora and fauna of both the
tropical and the temperate zones can be found, especially in the northern part
of the country. Also Myanmar is the only country in the S.E Asia region that can
boast every variety of geographical zones: ice-clad mountains, semi-desert
regions and. thick and dense tropical rain forest that come down to meet the
white beaches fronting the Bay of Bengal and the Andaman Sea.

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The mystery of the north deepens when we hear of the ancient
cultures and traditions that the people of the region still preserve lovingly,
the exotic creatures that are found there, the miracle cure-all herbs that the
native use.



Here also is the source of the Ayeyarwady River. "Tanpre, 27 miles north of
Myikyina is where the N'maihka and the Malihka rivers meet to form the
Ayeyarwady River. Everybody knows it as Myitson (the Confluence). If you follow
these two tributaries of the Ayeyarwady you will get to places where outsiders
have seldom set foot. These mountain rivers all have their sources in the
glaciers that cover most of the high peaks in the north. There you will find
many exotic plants and animals that are still new to science", Ma Lay our guide
explained. We were on assignment to cover the Majoi Manaw Festival at Myitkyina
and were at the confluence of the N'maihka and the Malihka rivers. "My name is
Khin Khin Swe but call me Ma Lay", she had told us when we

met at Myitkyina Airport. Ma Lay is a lovely girl with an engaging smile. Her
speech is a singsong rhythm so common with our hill cousins. Previously she had
been a teacher in Myitkyina but now working as a guide and obviously very proud
of her native land.

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"Where is Hkakaborazi? We want to see now-clad mountains", we
asked our guide. We had heard of Mt.Hkakaborazi since we were at school. It is
on the northwestern part of Myanmar near the Indian border and at 5881 metres
elevation this is the highest peak in S.E Asia and covered with ice and snow.
This mountain was described in Frank Kingdon-Ward's book "Burma's Icy Mountain"
and was conquered only once, as recently as 1996. The two conquering heroes were
Mr. Ozaki from Japan and U Nama Johnson, a native Myanmar-Tibetan from the
Myanmar Hiking and Mountaineering Federation.



The high mountains on the northern borders of Myanmar are the southern spurs of
the Himalayas. Himalayas in the ancient Sanskrit language means "the abode of
snows" and this term describes the mountains of northern Myanmar very well.
Apart from Mt. Hkakaborazi there are many other high peaks above 10000 feet also
covered with snow and ice in this part of the world .

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"You will see the snow-clad mountains when you get to Putao
as the town is surrounded by high peaks. From a distance they look like piles of
cotton wool but when spring approaches the slopes are carpeted with multi-coloured
wild flowers and beyond description", a native of Putao said.

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Leaf Deer

Ma Lay told us that a nearby snow-covered mountain, Mt.
Phungan, is a popular site for foreigners Who wish to experience nature and meet
the local Rawang and Kachin people. "It is 10500 feet above sea level and not
only foreigners but also many young local people go to Phungan", she told us.
"It is a very interesting experience but also very hard. It will take 13 days to
make a round trip. You have to cut your own trails, Construct your own rattan
bridges and there are leeches and sandflies also. But the scenery is
spectacular". That's great, I would love to go there", someone volunteered.
That's being optimistic as we are
just young at heart now!

height="100%" />

The Myintson (confluence). The two tributaries, N'maihka on the left and the Malikha on the right, join at Tanpre to from the Ayeyarwady River

This northern Myanmar area is full of surprises. Just a
couple of years ago a new species of deer was discovered by a team of scientist
from the Wildlife Conservation Society (WCS) of New York and the Myanmar
Forestry Department. A village elder that we met at Putao informed us "This deer
is so small that it can be wrapped up in one big leaf and the team had named it
the Leaf Deer (Muntiacus putaoensis)". Some other interesting animals that are
native to this area are the Takin (Budorcas taxicolor) and the Red Panda (Ailurus
fulgens).

height="196" />.

The Rawangs also celebrate the Manaw at Putao

Ma Lay was full of knowledge. "There were many botanical
collection trips in this area by Frank Kingdon-Ward before and just after the
War. On one of his trips Kingdon-Ward was able to discover a new species of
orchids which still bears his name. It is the black slipper orchid and the
botanical term is Paphiopedilum wardii" she elaborated. Yes, we had heard of
this British naturalist and also about his collection trips. Now after years of
neglect the rich fauna and flora of the region is being protected. The
Hkakaborazi National Park was established in a 1996 and covers an area of 1472
sq miles. "Some of the world's most endangered butterfly species like the
Apollo, the Kaiser and the Birdwings can still be seen here " Ma Lay commented.
There are supposed to be more than 1000 butterfly species in Myanmar and many
are found in the northern areas. Also globally endangered species like the
Hume's pheasants and Blyth's tragopans have been recently discovered here.
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But we have to complete our assignment. The Kachins are celebrating the Majoi
Manaw, a reunion of all Kachins tribes. "This Manaw celebrations had not been
held for more than three decades and now every Kachin had congregated here, some
even coming back from abroad to join the festivities" one of the organizers of
the Manaw Festival informed us.



The traditional Manaw poles, decorated in Kachin motifs are in the centre of the
Manaw ground. Sounds of brass gongs are heard and line of dancers
approaches the Manaw poles. Leading the procession are the shamans for

although most Kachins had now embraced Christianity they are still proud of
their ancestral traditions. The shamans are radiant in their flowing robes and
elaborate head -dresses; peacock feathers and fangs of wild boar stuck on rattan
hats. Behind them came other people, weaving and bobbing in tune with the music.
Everybody was in their finest native costumes, especially the women folks with
silver flashing from their blouses.

	height="263" />	height="263" />	height="263" />	height="263" />
Thaikhamti	Kharku	Lacheik	Thaisar	Lisu couple from Panwa

height="248" />

Rawang

height="241" />

Rawang Elders

There are many kinds of Manaws; to celebrate the New Year, others to celebrate
victory in battle etc. And as usual for all mountain people the dance is
communal, everybody joins in line behind the leaders. One of the elders
explained to us "It is a show of gratitude to their ancestral spirits and their
wish for a bright future".




Flying to Putao the next day we were greeted with a magnificent sight. "See, I
promised to show you the snow-clad mountains and there they are. But you are
lucky that today is clear", Ma Lay was jumping with joy because she was able to
show us the snow capped mountains in the distance. Located on the Hkamtilon
Plain, Putao was once known as Fort Hertz, in honour of the British District
Commissioner, Capt. Hertz. The original fort building can still be seen.
According to her Putao is the starting point for many scientific expeditions
towards Mt.Hkakaborazi and beyond.

height="180" />

A scenic view from Putao with snow-clad mountains in the distance

There are many ethnic villages around Putao; Rawangs, Usus and Hkamti Shans etc.
The Rawangs are also of the Kachin stock and many of their rituals are similar.
They celebrate the Manaw as the Kachins. Ma Lay told us "A couple of years ago
the Rawangs also held a Manaw Festival in Putao". Putao is at the centre of many
interesting trekking routes. Machanbaw is close by, approximately 10 miles away
and easily accessible. Nogmong is a little farther away; about 7 trekking days
away and along the way are many Rawang and Lisu villages.

Dargoshiezar bridge at Putao

There are even some Tibetan villages in the north. But one of the most
intriguing ethnic groups is the Taron. Discovered only in 1954 by a border
demarcation team, these people are sometimes referred to as Myanmar's pygmies
because of their short statures. According to a medical survey report done in
1962 they are of the mongoloid race and not Pygmies but due to the degenerated
gene pool occasioned by generations of intermarriages and poor health conditions
their normal development had been badly effected resulting in stunted growth and
numerous other medical problems. They are found at Karung village under the
shadow of Mt. Hkakaborazi.

A group of Lisus from Putao

But time flies and now we have to leave. "Kyezu Kabar Sai Yaw (Thank you and
goodbye until we meet again)", Ma Lay whispered and waved goodbye when it was
time for us to board the plane. The misty curtains closed on the distant white
topped peaks as the flight took off and Ma Lay's farewell echoed on the mountain
breeze. For surely the magic of the north has captured our hearts forever.

Hpone Thant is a regular contributor to Enchanting Myanmar
and a keen trekker. He can be reached at:
harry@swiftwinds.com.mm

FLOLK TOYS OF MYANMAR; SIMPLE PLEASURES

By Khin thandar

Photo: Sonny Nyein

height="550" />Myanmar
children are fast catching up on the toys of the present age, such as
fire-spitting guns, battery-operated cars and TV games. In the more remote
villages the toys may not be high tech but still they are no longer the
traditional folk toys, which by now have entered the realms of folk art.
However, children still do appreciate the traditional toys to add to their
collection. They too seem to sense with all the innocent instincts of childhood
that such things are no longer as common as in their parent's youth.



The simplest of toys that farm children still enjoy is what they call the
"Coconut-palm leaf cow." A crescent of a coconut shell is tucked inside a split
end of the long leaf of the palm. The upward carving shell looks like a pair of
horns, and the fluffy other end of the leaf is effectively the cow's tail. A
string is attached to the 'head' and children pull it along, clucking at their
cows to 'be careful and don't get into the bushes' and sometimes to race against
one another. Nursery rhymes and songs sometimes feature this boon companion of
children that can be constructed in a few minutes. Another simple toy is made on
the spot when people in villages gather around a bonfire on cold nights to eat
baked palm seedlings. The inedible stem is in translucent folds, which
grandparents weave into simple animal figures for the children.

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As an agricultural society, cattle are treated with affection and many refrain
from eating beef not because of any religious influences, but because they feel
that creatures that worked hard to produce the daily rice should not be so
cruelly treated.




In pagoda stalls red and white papier mache cows of all sizes are the most
popular. A mold carved out of wood is covered with scraps of paper wetted with
glue, allowed to dry in the sun, and then cut free. Painted in swift strokes and
with the eyes drawn in classical lines, the toys have a whimsical look to them
that have survived through decades. Other papier mache animals such as zebras
and giraffes are more exotic but by now, through these toys, a normal part of a
child's paper menagerie. Giraffes are not native to Myanmar, but early19th
century records on palm-leaf manuscripts stated that a pair of giraffes was sent
as gifts to the Myanmar king, to the great wonder of all who saw them.
Presumably the toys of these beautiful animals must have been most popular
during that time.



Elephants of papier mache or carved softwood are also favourites, as the
elephant is a noble animal to the Myanmar, especially white ones. Softwood very
much like pine is cut into figures of tigers, cocks and horses, and coloured
with water-based organic paint in rough brush strokes that gives them a lively
look.
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Another papier

mache toy is the Po Wa, or Little Fat Boy, the figure of a
pageboy who served in the palace. They have hair tied in two bunches, a gold
necklace and medallion around their necks, and around their plumb little bodies
a sarong tucked up into shorts. Clay group figures based on Buddhist stories
teach the children about Buddha's life and the moral lessons to be learnt from
those stories.
height="250" />



The children in the palace in the olden days had little play pots and bowls made
of gold or silver. They also played with puppets
fashioned out of silk scraps by the handmaidens who were skilled at sewing.
These play puppets cal'ed Yamin dolls were roughly made but with gorgeous
costumes and were stringed so that the Royal tots could play puppeteer. In the
palace, the king, a. queens and nobles all were patrons of separate puppet
groups, so this culture tradition was something the little princes and
princesses were familiar with. Some of these old Yamin dolls can still be seen
in museums overseas but probably the collectors did not know they were toys, as
they were categorized as 'roughly made puppets'.
align="right" border="0" height="206" />



Little girls whether living in palaces or not, love to play at cooking, or
pretending to be market sellers, so there are tiny pots and plates made of
glazed ware, with small scales woven from bamboo to weigh their 'vegetables.'
Another glazed ware toy is the Jaybird whistle. The other popular bird, the owl,
always comes in golden coloured pairs and they are more to bring good luck to a
shop or home and not for play.



Pagoda stalls

also sell toy musical instruments of drums and cymbals, but they
really do make sounds. The brass cymbals are most musical or noisy, depending on
who is playing and who is listening.





Some places in Myanmar are famous for producing special toys. The Shwe Sar Van
pagoda north of Mandalay celebrates its festival every March and stalls selling
bird and fish toys woven from palm leaves stretch for whole rows. A pagoda In
Mandalay celebrates an annual 'play pot festival' where tiny pots and pans of
baked clay are sold not only to children but to adult collectors. A trip to the Kyaik-hti-yo Golden Rock pagoda of the south is never complete without buying
some bamboo toys for the children. Sections of bamboo are decorated with burnt
designs, and formed into crocodiles, snakes, chameleons, guns, etc.
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Of all the toys, one that catches the fancy of not only of children but of
adults and which give them spiritual strength is the papier
mache Pyit Taing Daung: a knock-a-bout egg-shaped toy with the face of smiling
serenity. It is fun for the kids to roll about and see them always stay upright,
and for adults, the lesson they show is never to let anything get you down. The
resilience and serene nature of the people is surely reflected in this toy.

The Wedding

By Nyi Pu Lay

The group of people dressed in their best stood in the
narrow lane, necks straining to catch a glimpse of the car as
it rolled towards them on the bumpy road, they could see it
in the dust, coming as slowly as if it were a horse-drawncart.



This was the car taking them to the wedding. In their eyes the
car rolled on the bumps as if it were a boat riding the waves.

When the car was near enough for them to see it through the
whirling dust, one of the waiting women exclaimed to the groom,


"Sein Hla, is that the car taking us to the wedding?"

Sein Hla smiled to himself. "Yep, it sure is. Why?"

"You said it's a van."

"It is a van, isn't it?"

It was, but just

barely. The hind end of car had been cut,
remodeled and roofed, the sort of car that carried vegetables
from the jetty to the market.



But they could not be choosy: they were already late,
and some of them must go early and hurry back in time to
go to work. Anyway, in their part of Mandalay, there never
had been such a luxury as a car rented for the purpose of
taking guests to a wedding. This time, the bride being the
schoolteacher and all, and with the groom's best friend
being the owner of a car, transport had been arranged
as a wedding gift from the owner.

After making a five-point turn, the car was
finally heading outwards. The first batch were the
young girls who were in charge of handing out
sprigs of flowers and cigarettes to each guest.
They must be in their places before the guests
arrive.




There was an immediate uproar about who gets in
first, who sits where. The driver obligingly shut off the
engine, which shuddered like a malarial victim, before it
died.



"Now where is that Sein Sein Aye? She's always so
slow...just let her be quick if its about watching out for a
husband, then I'd tear her to pieces." Before the words ended, a bug-eyed
girl dressed all in bright red scampered up. Her make-up was exactly like the other
girls'...its pink tones clashed alarmingly with her dark
skin.



Uncle Than Sein and Grand Uncle Win
Maung, as befit their age, had already installed
themselves in the front seat.

|"Oh, Uncle, take this child with you, she's
Daw Aye Chit's little girl."

"Come, come, you can sit on my knee." The
girl was overjoyed to be riding in the front seat a
and her wide smile showed missing front
teeth.



The groom tried to pack in as many as
possible, for he did not want his friend making
too many trips. Gas prices were not cheap, as
he well knew.




The car began to look like a piece of candy
with ants climbing allover it. It was indeed a
happy scene.



To their alarm the car took a few minutes
to start; then they were off in a cloud of dark
smoke.

"Now, bridegroom, you'd better go change,
what are you waiting for?"

"Well I'm just so busy seeing to things..."

"Never mind! Everything will be fine. You
go change; it's your wedding day, man, look
lively."

"Who' will look after the gifts?" one lady
asked anxiously.

"Don't worry, Aunt, there will be
someone...go change, Sein Hla."



The group of ladies who were left standing in the lane began to chatter.


"That red dress Sein Sein Aye's wearing,
whose dress is it?"

"Must be hers, since she's wearing it."

"No, the dress is too big on her, must
belong to her sister who lives downtown."

A quarrel broke out between two children about who was to wear the one pair of
slippers belonging to both. Kywet Thoe, the best
man, sauntered up, hands in the pockets of his
jacket.

|

"Well now, how grand you look; you should
look as spic and span as this all the time." .

"Of course I want to, Aunt, but look at me,
I'm a mechanic, covered with grease all the
time. I didn't go to work yesterday, that's why I
look this clean. Even then I couldn't get rid of
all the black."



He held out his hands.




"How is that old father of the groom? How
is he, Kywet Thoe ?"

"Better, thank god...we all thought he was a goner, when the invitations were already
printed and all."



The old man had fallen ill all of a sudden;
the neighbourhood had held its breadth. But
now, thank god, he's on the mend. .

****



When the car came back, they had picked
up the bride Mar Mar Tin from the beauty
salon. Everyone in the neighbourhood who

was not going, mothers with babies, old
people walking with canes, toddlers with
grimy faces, all came fast as they could to have

a look at the bride.




She did not step out of the car. Her hair
was done in a high chignon, and the false tress
was darker than her own hair. The dangling
rhinestone hairpin sparkled. Around her neck
were a necklace and a strand of pearls, and in
photos they would surely look real.



Her face was pink with make-up. Unused
to the false eyelashes, she kept batting her
eyes. The beautician had done away altogether
with her scanty eyebrows: they had been
shaved off, and he had drawn a curvy line in its
place in deep sea-green pencil.



There were comments about how pretty
she looked, and they all asked how much it
cost, the name of the shop, and in the melee

they heard a piping voice of a girl: "She doesn't
look pretty at all!"
Mar MarTin pretended not to hear, but was
itching to rap her on the head.



The groom was wearing a dark golden
yellow longyi (sarong) as near the golden
colour of the bride's htamein (sarong) as
possible. He too seemed to have plastered
some powder on his face; it looked dusty. He
tried to open the car door: it did not budge,
even with the bride working the handle from
inside. The driver, his friend, leant over and
pushed it open. The back of the van was
already packed with more guests.



He remembered his turban only when
they drove off; never mind, he could ask his
friend to bring it along the next trip.




"Ko sein, how's Father?" the bride asked
him.

"He'd had a pee, but couldn't pass motion
yet. I moved him to a sunny spot."

"Who's with him?"

"Ma Ma Than from next door's keeping an
eye on him; he misses mother, you know. He
doesn't say so but I can tell."



He tried putting his elbow out of the ,
window; the glass could only be lowered to
mid-Ievel, so he felt uncomfortable. He took

his arm down.

He turned to his friend. "When father heard
you're helping out with the transport, he
wanted to come, too. Said he should entertain
his own friends himself."


"How did you persuade him to stay, Ko
Sein?" the bride asked.

"I told him there'd be all three of us
brothers, that we'll see to everyone being
welcomed. Even then he asked to put an over
jacket on him, just in case someone drops in
at home."

The wedding hall was filled with people.
The newly weds both live in the same
neighbourhood so there were no strangers. As
the car went back for the third trip, two kids
did not stay behind but went back for another
ride; it was a treat for them. One kid started to ,
howl because he could not go with them.



The ladies manning the gifts table were
busy, making lists, eating cake, gulping down
tea.

The elders were in a group, happily smoking
cigarettes. The pop songs blaring out of the
speakers mingled with the chatter, and the
audible clearing of throats as they ate the
dryish cakes. The room was filled with smoke
and the scent of make-up and perfumes.

***

All the way back the guests talked and
gossiped about the wedding, the dresses, the
cakes. The newly weds had already given
pocket money to the lads. It is called 'Payment
for Stones', a sum paid off to avoid the teasing
hail of stones on the house that night. The guys
had all trooped to a food stall. As for the girls,
they had promised to take them all to watch
TV that night. The children overheard this, and
demanded that they too wanted to come
along. The bride had agreed just to keep them
quiet, but thinking about the one kyat for
adults and half for kids, she felt worried and
stole a glance at the borrowed silver bowl
where the cash gifts had been put in.

Father had been eagerly asking news from
anyone who returned from the wedding. As
soon as he saw his son the groom, he asked for
his potty. Sitting on it he asked detailed
questions about the event.

As sein Hla cleaned his father, the old man
asked if it were true about the TV show. "What's
the program?"

"Mandalay Dance Troupe, Father, yes, we
promised the girls."

"Is that so? I want to watch it, too."

"I'll carry you then, Father, if you want to
go."



But he thought of the sulky face of the
owner of the TV, and felt a twinge of worry.




The program was a favourite; the front
room of that house would be filled with the
guests of the wedding.



He dressed his father warmly in an old
jacket; the nights were getting cold. His new
wife Mar Mar Tin had gone on ahead, carrying
his father's folding chair. There were still traces
of the morning's make-up on her face. As it
had cost her all of Kyat 150, she thought surely
she must still look as nice as this morning.



She had the money for the show tucked in
her bodice. Her new slippers hurt her feet, so
she was wearing her old pair. Besides, people
steal slippers at such places where they must
be left outside.



Sein Hla showed his father the potty he
carried in a plastic bag. "Tell me anytime if you
need to pee, father, no need to feel embarrassed; everyone knows you."
The owner of the TV, U San Tin, came out to
greet Father when they arrived at the house.



He seemed happy to have a full house. He
was rather strict: he did not allow any kids to
eat snacks, or throw plum seeds at each other.
The audience sat on mats covering the floor. Sein Hla placed his father's chair at the back.
He himself sat on the floor, holding the potty
bag, and his new bride sat by him.



The program started. Well! How they.
enjoyed It all: the jokes, the songs, the
dancing. It was as if they were all nailed to the


floor.



They were still smiling as they took their
leave when the show ended. sein Hla took up
his father, and his face fell: the old man had
peed, probably without noticing it. There was
even a small wet patch on the floor. U San Tin
must surely notice. sein Hla did not know what
to do. He grabbed the brand new handkerchief
Mar Mar Tin was clutching and made as if to
wipe the floor.



"Never mind, my boy, never mind." It was
an unexpectedly kind word from U San Tin.



They said their good-byes, apologizing. U
San Tin squeezed Father's hand as they left. Mar
Mar Tin paid for her guest, bargaining with a
beating heart to let off the extra four kyats. The
TV owners agreed, just for this night.



Mar Mar Tin carried the folding chair with
the wet burlap seat, wondering how she could
keep the make-up on until tomorrow. Sein Hla
carried his father, wondering about how this
night U San Tin had been so nice.



The audience made their way home,
talking about the show. .


(The above short story appeared in Tabin
Magazine May 1986 and is transtlated by MTG)



Nyi Pu Lay



Nyi Pu Lay was born 1952 in Mandalay to
parents who are both well-known writers and
journalists, Ludu U Hla and Ludu Daw Ahmar.
He graduated from Mandalay University with a
Bachelor of Science degree in Geology. He
started writing short stories since 1985 and by
1989 has published his first collection, 'Thu htet
kai Shwe Pyi Soe Nyi Pu Lay."



A second book of his collected short stories
followed in 1990, titled "Ka-Iay kyike, Lu-gyi kyite,
chit kya ba de Nyi Pu Lay."



In 2002 a third collection of his short stories
was published under the title "T'gyaung hswe 0Ka-Iay p'ji and other stories."



His first novel "La Min ye cho thar de let
5 khote than" was also published in 2002.




The themes of his stories are usually on the
lives of the ordinary people, portrayed with his
signature touch of wry humour on the vicissia tudes of life.



He resides in Mandalay.