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The insight into old Bagan through Ananda and Pahtotharmya Guphayas

Abstract

In the time of Bagan period, Buddhism was not taken into account as a religion.

According to Dr. Lilian Handlin, the term Boda batha was only invented in the 19th century by

Adoniram Judson. From the epigraphs, the earliest form of religion which is similar to Buddhism

was practiced during the Pyu period in the 5th century B.C. The primitive religious cults of the

Bagan period were mixed with four major elements: Astrology, Alchemy, Nat worship and

perverted form of Mahayana Buddhism. After King Anawrahta had invaded Thaton Kingdom, he

carried the Tri-Pitakas from the Thaton Kingdom to Bagan with the help of Shin Arahan. The

new form of Theravada Buddhism was created under the reign of King Anawrahta and the

practice of building temples, monasteries and pagodas started to flourish. With the religious

belief, the idea of merit sharing greatly encouraged the kings and the lay-people to choose

religious spending over economic savings1. This is one of the possible reasons why a lot of

temples and pagodas were immensely built in the region of Bagan. In my paper, I will take

Ananda Guphaya and Pahtothamya Guphaya as the windows for the experiences that a person

in the Bagan era could have had in them.

Ananda Guphaya

1 Aung Twin, Michal. Pagan: The Origin of Modern Burma. University of Hawaii Press: Honlulu. 10.Print.

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This Guphaya was regarded to be built by King Kyansittha in 1091 A.D.2 It is situated to the

south-east of Tharapa gate of the city-wall. According to the archeologists and the historians, it

is one of the finest and most venerated guphayas at Bagan. Some parts of it were being

repaired in the time of King Bodaw Phaya. Looking from outside, we can see Aanda Guphaya

stands elegantly under the azure sky. It is regarded as the crowning achievement of the Early

Style temple architecture by the writer of the “Glimpses of Glorious Bagan”. I can say that it is

appropriate to make such kind of judgment because Ananda Guphaya was constructed using

seven Burmese arts out of ten. The temple was constructed using__

I. Art of stone craving

II. Art of goldsmith

III. Art of architecture

IV. Art of stucco cravings

V. Brickwork art of masonry works

VI. Art of bronze casting and

VII. Art of blacksmith.3

2 Aung Kyaing, Min Bu. Guide to Bagan Monuments.233 From the wall of the Ananda Guphaya

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The art of stone craving in Ananda is such an amazing work of the Bagan’s arts and

architectures. The bricks were arranged systematically so as not to see the cement among

them. Moreover, the radiating arches were constructed by using sandstones and bricks

artistically. The art of bronze craving was shown by the lotus pedestal made of pancha Loha’.

One of the marvelous things is the huge wooden door-leaves which were magnificently crafted.

To match with the wooden doors, large iron rings were put on the top of thedoor-chowket to

hold them fit.

The proportions of this majestic temple are perfect with the length of 175 feet on each side

of the central square while the overall length of each axis is to be recorded as 290 feet. The

base is a square of nearly 61m to the side and broken on each side by a projection of large

gabled vestibule, which transforms the temple into a perfect Greek cross which is significantly

different from other temples. The main block carries the height of 35 feet and above it rise two

tires of sloping roofs, followed by four receding terraces which form a base for the curvilinear

spire. The sloping roof is the unchanged style of 11th century.4 Later temples were built with the

flat roofs so that people could walk on them.

The statues of lion were put in every corner. The entrance to each of the porticoes is seen

to be guarded by two door guardians seated on pedestals in arched niches. Within the

porticoes itself, with its four huge pillars, a further two door guardians guard the entrance to

the main square block. The two standing figures on both sides of the entrance of the outer

corridors are Arimitteya on the right and Lokanatha on the left of the one who enters.5 Two

narrow vaulted corridors run parallel to each other along the four sides. The block of masonry

4 Saya Thain Tun Oo. Research Assistant(Grade 3), Bagan Archeological Museum5 Ibid

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in the centre which supports the superstructure above has a tall arched alcove on each of its

four sides.

Within these alcoves are the standing images of Buddha 31 feet high. The four images

represented the four Buddhas of the present world who had already attained Enlightenment.

The images of the images from the north and the south are original while those from the east

and the west were being maintained as destroyed. Both of the two original standing Buddha

images seem to be mirthful when view from the vestibules and solemn when viewed from a

near place. Smiling facial expression is one of the characteristics of the early Bagan Buddha

images. It can be said to be the strange and remarkable style of 11th century. 6Before the image

of Gotama in the western alcove stands two figures kneeling in obeisance, Shin Arahan on the

left and King Kyan sittha on the right. The corriders are honeycombed with the niches which

hold small stone images of the Buddha in various postures. Huge carved teak doors separate

interior halls from cross passages on all four sides. A ladder in the east side inside the Guphaya

helps to go upstage although it is now closed. The faces of the four Buddha images were

gleamed by the light from the dormer windows above. Two tiers of small lancet windows along

the thick walls provide a dim light. One of the significant features of this Guphaya is the

arrangement of lightening. The windows and doors were arranged for a good illumination

inside the temple.

One thing which can also be observed in Ananda is the green glazed terracotta plaques

ornamenting the bases of the receding terraces depicting the Jataka stories, the host of Mara,

and the Nats, Kings and lay-people coming to worship with a variety of auspicious offerings.

6 Aung Kyaing, Min Bu. Guide to Bagan Monuments.24.Print.

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Each of these plaques is inscribed with a Mon legend because King Kyansitta took a great care

about the Mon-Burmese relationship and he attempted to have a good relationship with the

Mon people. The most notable among the sculptures is a series of eighty reliefs in the two tiers

of niches in the outer corrider illustrating the life of Bodhisattva from his birth to the

attainment of supreme wisdom.7 With the help of Saya Thein Tun Oo, we got to observe one

original green glazed terracotta plaques which seemed not to touch with the direct sunlight and

the original color was still preserved. According to Saya Thein Tun Oo, these plates reflected the

rays of the sun forming glittering sparkles around the temple. We can imagine that this temple

would have been seen as a golden cave or grotto in the time of King Kyansitta because of these

plates. One more interesting thing is the image of camel in the glazed plates of the wall outside.

It is the sign that Bagan had a correlation with the Arabs in the time of King Kyansitta because it

is impossible for the people from the past to draw the camels without seeing them.

In the porch on the west face there are two Buddha-pads (Buddha’s footprints) placed

on a pedestal. Each footprint bears the traditional 180 marks as enumerated in some of the Pali

commentaries. Although the whole part of the mural paintings cannot be observed, we can still

see the small original section being exposed by the chemist from the Archeology Department in

1968 because the whole surface were obliterated with lime-wash by the zealous devotees.

According to the observation from other temples, these mural paintings may be the Buddha

images and the description of the last life of the Buddha. According to the stone inscription,

King Kyansitta managed and directed while the temple was being constructed. That is the

reason why this temple is so majestic in design and appearance.

7 Pictorial Guide to Bagan.1979.Print.

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Pahtothamya Guphaya

According to tradition, it is included as one of the five temples built by King Sawrahan in

the 10th Century. Some scholars commented that the temple was built by King Sawlu.

Phtothamya is so called because there are so many surrounding smaller stupas on each of the

parapets.8 It is one of the supreme symbols of the advance of the Theravada Buddhist faith at

Bagan. It is the two-storey temple. It shows the early style with the main block 90 feet square

adjoined by a vaulted hall 52 feet square. The upper storey is elaborated with the onion shape

or bulbous stupa relief. Similar stupas were repeated at the corner pedestal blocks of the above

terraces. There are four upper shrines in this temple.

In the midst of the Pagoda is a hall for the Buddha's image which is facing eastwards.

The feature of the Buddha image is an Indian style. The ears are large and did not touch the

shoulders. The robe is thin and the fingers are not the same size which is the earliest style in

Bagan. If we look closely, the face of the large Buddha image seems to be mirthful. An inner

passage is produced like the Hindu temple putting the main hollow block in the middle and the

passage circulating the main block. A flat lintel balances off the strongly delineated verticals of

pilasters. The shrine base walls are comprised of five square units, each containing the flat

topped windows framed by pilasters. Brick in stark grid patterns of squares are used instead of

stones. The central unit of each side is projected outwards. The front has a double pediment

framing the porch arch. This pedimental arrangement is repeated on the side entrances of the

hall. It reflects early Bagan period architecture.9 On the walls of the cave are figurines and

8 Aung Kyaing, Minbbu. Guide to Bagan Monuments. 2007 May. Zaw Press. Print.9 Lat, Kyaw. Dr. Evolution of Bagan Temples.

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frescoes. Above three receding terraces rise a bulbous dome with twelve vertical ribs and a

box-like relic chamber intervenes between the dome and the twelve sided finial.10

The hall has three doorways with elegant arch pediments while the main block has

perforate windows on each side which provide lightening to the interior. The style of arch is a

radiating arch which the key stone in the middle with the other stones arranged systematically

based on this key stone. The dormer windows in the terraces also provide supplementary

lightening to the face of Buddha image. Niches in the interior walls are the stone images of the

Buddha. Mural paintings with the legend in Mon depict the scenes from the Jatakas and the

Final life of Gotama Buddha. On the scene of the birth of Buddha, there is no depicting picture

of the small child standing near the stomach of the Queen, Myra. According to Saya Saw San Ba

Aung, this mural painting is supposed to be the design of the Early Bagan period. The sanctum is

dark and the corridor round it is dimly lit by perforated windows. The architectural features are

typical of earlier temples in Bagan influenced by Mon culture. The height of this Guphaya is 85

feet, plinth 90 feet square, and vestibule 52 feet square. The upper terrace of the pagoda can

be reached by the stairs on the east of the prayer hall which is now closed for the maintenance.

The four windows in each wall of the south, north and west permitted dim light to the temple.

The lightening system of this temple is not as good as that of Ananda temple. May be, the one

who built the temple wanted to preserve the mural paintings and wanted to make people feel

peace and tranquility when they entered this temple.

10 Glimpses of Glorious Bagan. 3rd Edition. Universities Research Centre.28-29.Print.

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The roof of the hall is broad and flat. The two upper roofs are sloping like those of the

Ananda Temple. The average brick of this temple is 44x22x7.7cm.11 There is a barrel vault over

passages and porch. Stone gutters can also be seen on the roof of this temple. Two statues may

have been in the entrance of the hall because we can still see the bases. There is barely a space

between the bricks which is regarded as the brick from Pyu period. The strange thing is that

there is no sign of Buddha’s footprint on the ceiling of the hall although many temples have the

footprints of Buddha on the ceiling at the center of the vestibule or at the center of the main hall . This

temple has the splendid feature of making the visitors and pilgrimages to feel cool and serenity

as soon as one bare foot is touching the floor of it.

Possible meanings behind these two temples

As soon as I entered the compound of the Ananda temple, I felt so small. The temple is

so elegant and I thought that this may reflect the omnipotent power of King Kyansittha. This

temple is decorated eloquently. By enlarging the Stupa, King Kyansittha found it easy to put the

whole 550 Jataka stories. Therefore, some of the scholars mentioned this temple as the

museum for the public in the time of King Kyansittha. After paying homage to the Buddha, they

could study the lives of the Buddha and enriched their faiths over Buddha. The inner halls get

the enough light to see the mural paintings on the wall while the hall of Pahtothamya is dark

and dry to keep the mural paintings to last longer. 12

Another significant figure of this temple is its proportion. The height of the temple is

around 177 ft and the horizontal width is about 294ft. This ratio results to 0.6 which is the

11 H.Luce, Gordon. Old Burma-Early Pag’an. 1969. Press.12 Saya U Saw San Ba Aung

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golden proportion called by renaissance architects in Europe. Arkar Hein also calculated the

height and the width of the original standing images of the Buddha and staggeringly found out

that this ratio also fit to the golden ratio as mentioned above. Amanda is built with the solid

pillar with four main niches and images in the center. It has four large vestibule at four cardinal

directions and four columns to have wider vestibules. This system of using the columns as load

bearing element in the inner space is found only in a few temples13 and Ananda is one of them.

Dr. Kyaw Let stated this system as being introduced for the first time during Kyansittha’s reign.

King Kyansittha can be seen as an extravert person. He put the green and reflective

glazed plates to make the temples gleam under the sunlight. It may be the showing of his great

power. As soon as the custom of building temples flourished in Bagan, Kings would try to build

more advanced and artistic temples not only to show their power but also to share their merits

with the people. There are three passages to go around the temple: one for monk, one for

Kings and the Queens, one for normal people. Although King Kyansittha built this temple for the

people and for the sharing of merit, he consciously or unconsciously divided the classes among

the people. However, one of the interesting things is that the whole images of Buddha can be

seen clearly with the smiling form looking from the passage of normal people. The sign of lions

on the corners of the temple is an appealing one. Seeing that some of the statues were being

repaired at the later time14, most of the statues of lion must be original. We can interpret the

lion into two different ways. It may be the features of Mt. Gandhamadana or it may be the

symbol of the enormous supremacy of King Kyansittha.

13 Lat, Kyaw. Dr. Evolution of Bagan Temples14 Saya Thain Tun Oo. Research Assistant(Grade 3), Bagan Archeological Museum

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How the huge images of Buddha and the huge doors were inserted was still a puzzle. My

hypothesis is that the images of Buddha and the doors were put before the halls and the

passages were being built because it is impossible to carry these large images with the existing

technology in their time. It is undeniable that the architecture of Bagan reached its peak at the

tiem of King Kaynsittha. Some of the scholars argue that Pahtothamya must have been built

during the reign of King Kyansittha. In my opinion, it is completely unfeasible. The lightening

arrangement and the structure of the Pahtothamya Guphaya are completely differed from

those of the Ananda Temple. The builders of Pahtaothamya only let the dim light in through the

dormer windows only onto the image meaning that they wanted the devotee to concentrate

only on the Buddha image whenever he or she worshiped or meditated inside the temple. And,

only the perforated windows were used just to admit air.

It is perplexing to predict the time of Pahtothamya temple because even the scholars

cannot get consensus among themselves. As stated by Dr. Lilian Handlin, the wealthy and the royal

entrouage could participate in building the temples. Therefore, this temple may also be built by

some royal or rich person. Nevertheless, this temple is said to be the first design with inner

space entirely without solid pillar.15 Theoretically, this temple is said to be two-storeyed temple.

However, the structure of it is more similar to that of single storeyed-temple. The chamber in

the roof is small not to impose too much weight on the under structure. As the technology is

not as advanced as the time of King Kyansittha, the builders needed to reduce as much weight

as possible on the upper part. Only the adroit labors must have been used in building both

temples because it is impossible for the unskillful labors to construct these kinds of things. The

15 Lat, Kyaw. Dr. Evolution of Bagan Temples

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whole temple may have been broken down during the earthquake if the structures of these two

temples are not unique and dexterous.

The taste for dim religious light may have the meaning behind it. It may be the secret

place with all its metaphysical connotations with the philosophy of Buddha. Unlike Ananda

temple, I felt relaxed and serenity as those I was under the guidance of Lord Buddha when I was

in the hall of Pahtothamya. I felt as though I was inside a cave completely far away from social

welfares. My mind concentrated only on the face of the image of Buddha with the dim light

spreading from the windows of East, South and North. The main difference between Ananda

Guphaya and Pahtithamya Guphaya is the feeling given by these temples. Ananda temple made

people learn about the lives of Buddha through mural paintings and green glazed plaques.

However, Pahtothamya temple could make the people learn the life of Buddha through

tranquility and peacefulness.

Another considerable difference is the technology and the architectural application used

in building the temple. King Kyansittha managed himself in building the temple.16 He put a lot of

effort in depicting the finest architectures and arts in this temple. The import of technology

from Mon people may be one of the factors. King Kyansittha aimed to build a strong

relationship with Mons.17 Therefore, he put Mon language and Mon architecture in building this

temple.

Conclusion

16 Saya Thain Tun Oo. Research Assistant(Grade 3), Bagan Archeological Museum17 Ibid

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As most of the evidences of these two temples are missing, it is a demanding case to

predict the original situation. Most of the conclusions and generalizations are the hypothesis

and the predictions of the scholars and the archeologists. No one knows for sure. The existence

of Bagan is a puzzle and will still be an enigma in the future. How and why the Kings and the

people built a lot of temples and the construction of these temples really led to the decline of

Bagan are the questions which need to be answered. At the moment, Bagan is an interesting

place to visit where a lot of histories and mysteries are hidden.

Bibliography

1. Aung Twin, Michal. Pagan: The Origin of Modern Burma. University of Hawaii Press:

Honlulu. 10.Print.

2. Aung Kyaing, Minbbu. Guide to Bagan Monuments. 2007 May. Zaw Press. Print.

3. Saya Thain Tun Oo. Research Assistant(Grade 3), Bagan Archeological Museum

4. Pictorial Guide to Bagan.1979.Print.

5. Lat, Kyaw. Dr. Evolution of Bagan Temples.

6. Glimpses of Glorious Bagan. 3rd Edition. Universities Research Centre.28-29.Print.

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7. H.Luce, Gordon. Old Burma-Early Pag’an. 1969. Press.

8. Saya U Saw San Ba Aung