Historical Aspects of the Cetiya and the Buddha Images in Myeik

Dr Khin Thidar♣

Abstract Myeik is geographically situated on north latitude 12˚ 16' and east longitude 98˚ 26'. The total area of

Myeik is 54744.8 square miles. Myeik chronicle claims the founding date of Myeik to be Myanmar Era 895 (AD

1533) and at that time it was called Mareik (Thai Language). From 1593 to 1759, Myeik was under Myanmar and

Thailand suzerainty alternately. Alonman:tarā: (1752-1760) captured Myeik and Taninthayi while he marching on

to Ayuthia in 1759. His successor Nontoaukri: Man: (1760-1763) appointed Udinkyoau as Taninthayi Myowun in

1762. To fulfill Alonman:tarā: wish, he reconstructed Mareik and renamed it as Myeik. Nobility and people of

Myeik founded many religious edifices where the Buddha images were kept. Many Cetiya were built and many

images were carved. An attempt has been made here to examine the historical aspects of the Cetiya and the Buddha

images in Myeik. It also analyzes the art and architecture of the Cetiya and model and style of the Buddha images.

The study is made to find out new outlook and opinion on the development of the Cetiya and the Buddha images.

Introduction

Myeik is geographically situated on north latitude 12˚ 16' and east longitude 98˚ 26'. The total

area of Myeik is 54744.8 square miles. Myeik chronicle claims that Byaramasvantissa Man:

occupied Taninthayi in 1531 when Taninthayi was ruled by Kyoubwamyasawsan. At that time,

Sinhtok Myo (now Thadutaw, Nyaunghla village), a port city of Taninthayi in 1277, was unable

the ship to berth there because of the sedimentation of the river. So Byaramasvantissa Man:

built a new port city at the foot of Khe hill and later it became to be known as Mareik (Myeik).

Mareik comes from Thai language (mar means horse and reik means tether). Because of

the frontier incidents, Mareik was under Myanmar and Thailand suzerainty alternately. From

1592 to 1759 Mareik was a port city under Thai. In 1759 Alon:mantara: captured Taninthayi

and Myeik while he marching on to Ayuthia. From that time onwards till 1826 Mareik was

under Myanmar rule. His successor Depeyin Man: appointed Udinkyou as Myowun of Mareik.

Udinkyou reconstructed Mareik in 1762 and renamed it as Myeik. Myeik was ruled by

successive Myanmar Myowun until 1824. The First Anglo-Myanmar War was fought from 1824

to 1826. At the end of the war, as a defeated nation, Myanmar had to cede Yakhine and

Thaninthayi to the British by the Treaty of Yandabo concluded in 1826. Being Buddhists,

nobilities and inhabitants of Myeik founded many religious establishments where the Buddha

images were kept. Many Cetiya were built and many images were carved.

♣ Assistant Lecturer, Department of History, Myeik University Journal of MAAS, Vol. V. No.6 B, 2007 (Best Paper Award Winner in History, 2006)

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The Cetiya in Myeik

The most important cetiya is Laykyunseme @ Great Sima Cetiya. This cetiya is situated

at Seiknge quarter, on Khe hill at two hundred feet above sea level. Former cetiya was built in

1731 by Meik Myowun Arammani and people of Mareik under the supervision of Sayadaw U

Jagara. Then it was named as Khe Taung Cetiya. It was 47.99 feet (14.63 meter) high. During

the reign of Naymyo Nawrahta, people reconstructed this cetiya on 5 December 1785. From the

time onward, this cetiya is called Laykyunseme cetiya on the basis of Buddhist cosmological

concept of the world including four island viz. Pubbavideha (East Island), Aparagoyana (West),

Jambudipa (South) and Uttarakuru (North).1 The cetiya is bell-shape and solid type. The relics

of the Buddha are enshrined in a sealed-up chamber. It has pan:tankum – plinth of a stupa at the

base, sapitmhok or anda (egg) or dome – upper portion of a pagoda which resembles a monk's

bowl turned up side down. It is then topped with phon:rac – chhatravali, ovolo moulding above

the bell, which was in fact the dome of the stupa. Then there is kramhok – withering lotus and

kralan – blooming lotus. It is then graded with finial, ornamental pennon called the diamond

bulb.2 The high of this cetiya is 82 feet 9 inches at present. These parts of this cetiya form the

characteristic feature of Myanmar architecture. (see photo 1) It can be said that this cetiya was

built by Myanmar and Thai people of Myeik during the reign of Thai Myowun. It seems that

whether Myeik under Myanmar or Thai rule, with regard to the Teachings of the Buddha, there

was cordial relations between Myanmar and Thailand and they both established religious

monuments.

On the left of Khe hill, there is a Watteik Monastery. A cetiya was built on the hill of

Watteik monastery. This cetiya is called Bu Cetiya because its shape is like a half of gourd.

Although it also has the characteristic feature of cetiya, its shape is oval. (see photo 2) It is 60

feet high and 75 feet wide. It was built by Myanmar Myowun U Myat Lay (1819-1824) in 1819.

Kalwin village lies north of Myeik. At Kalwin village, one of the hills was called Pho

Aim Hill. In 1895 the remnant of stupa (1.82 m high) was discovered when villagers cleared the

clump of bushes and creepers on the hill. Therefore this hill is now called Pawdawmu Hill.

Tawya monastery Sayadaw U Nemindara and people of Myeik rebuilt this remnant of stupa. It

was enshrined in the rectangle basement and three cetiya were built on this basement. Two

satellites cetiya were gradient with finial at that time. (see photo 3) but the main cetiya was

1 Gunavannanā, 1990, 38-41 2 Khin Thida, 2002, 2

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unable to be grade with finial as it lies in the area struck by lightening. Nevertheless, in 1949,

the main cetiya could be graded with finial.

Taungthaya Shwe Cetiya was constructed by people of Myeik on 15 May 1950.1 The

structure of Cetiya looks like a relic chamber. It has four satellite cetiya. (see photo 4) It may be

said that most of the cetiya in Myeik were built on the range of hills.

Sum Cetiya has become prominent recently. (see photo 5) Together with these cetiya the

sculptures of hermit, nat(deva), king and Sakkya were also sculpted. So these cetiya are called

Sum Cetiya. Sum Cetiya are four in mumber viz. Phanum: Sum, Bhut Sum, Palap Sum and Mani

Sum, built by Saywinkaba Sayadaw U Suriya. Phanum: Sum is built on 13 March 1951 at

Sandawat Village. on 7 December 1951, Bhut Sum is built at Boatchaung Village. Palap Sum is

constructed at Shanchaung Village on 28 January 1953. Mani Sum also built at Kalwin Village

at the same time. These four Sum cetiya have the same feature and cylindrical shape. the initial

name of these cetiya are Pa, Pha, Bha, Ma. Pa means flourishment, Pha means Phala - the

resultant of Magga, Bha means Beik or Myeik and Ma means Magga- path way to Nivvāna. It

can be asSumed that these cetiya were built to dedicate the flourishment of Buddha Sāsanā in

Myeik and the attainment of Nivvāna.

Buddha Images in Sima

Myeik East Sima (Ashe Sima) was consecrated in 1373.2 Inside Sima, there is a huge

sitting cross-legged Buddha image. The face of the image is circle and two cheeks are bulging;

two eye brows are prominently raised. It has very thick lips. The lines of neck were sculpted

clearly. The style of the robe depicted with plain line. The edge of the robe was hanging on the

left shoulder. The attitude of hand (mudra) is Bhumiphassa Mudra - touching earth after the

Enlightenment and feet – Asana is Paryankasana – sitting cross –legged the left leg above the

right, it signifies serenity. (see photo 6) It seems that this image was carved in 1847. 3 It can not

be asSumed that this image was whether carved or renovated. Among small Buddha images, two

images are relatively strange. Thai arts influenced one of small Buddha images. (see photo 7)

Some thorns like those of a jackfruit were placed closely on the head. Lips were thick and the

face is long and oval shape. Body structure of this image is thin and long. The robe is shown on

left shoulder only and exposing the right breast. It can probably be certain that Thai arts has

influenced on its style. We find that besides the indigenous styles sculptors also made use of

1 According to the inscription inscribed at the front of Shwe Cetiya 2 According to the inscription at the front of Sima 3 The script of an inscription on the left side of pedestal shows the period

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Thai arts. The rest one has sitting cross-legged position with Bhumiphassa mudra. The Usnisa is

the flame-top signifies – omniscience of the Buddha. The robe style was made distinct with

wavy pattern. (see photo 8) It can be assumed that the images form the arts of the latter part of

18th century and early 19th century.

Satain Sayadaw U Jagara and twenty-two monks consecrated Taw Kyaung Sima in

1741.1 Like other Sima, the images in different postures are inside it. The robe style of sitting

cross-legged image shows the arts of image seemed to be the arts of late Konbaung Period as the

robe was made distinctly with curls. (see photo 9) But the style of small Buddha image is similar

to the style of late 18th century. Moreover, three out of twenty-eight Buddha images were of

ancient style. (see photo 10) The hairs of these images is decorated with jackfruit thorns and

similar to the feature of the latter part of the 18th century and early 19th century.

The most prominent Sima is Great Sima. It is situated on the hill of Khe where

Laykyunseme cetiya is built. It is consecrated under the supervision of Sayadaw U Jagara and

Dawei Sayadaw Panyasaradhajamahaguru in 1778.2 We can observe a huge Buddha image

with the flame-top Usnisa. It is strange that nails are made of oyster shell. (see photo 11) At the

front of this Sima, a huge image in sitting posture can be seen. The attitude of feet – Asana is

Bhadrasana – sitting with both legs pendant. The right palm is spread upwards and the left hand

with the palm spread downward was placed on the lap. (see photo 12) Most of the people

believe that one who venerate this image fulfills wishes he wants. It can be said that the arts is

the feature of the latter part of 18th century.

Kusinarum Sima lies in the eastern part of Myeiktaung. It was consecrated by

Narasamankyoou (1791-1792). The image of Parinibbana – passing away is sculptured there.

However, Parinibbana image of this Sima was carved in position supine (sleeping on his back).

Moreover, the sculptures of weeping Agasavaka were also found there. (see photo 13) No one

can say definitely whether this image and sculptures are carved before or at present. Although

some scripts were inscribed it can not be read, due to lack of knowledge of renovators.

Furthermore, we find a crowned Buddha image dated 9 September 1946.

Buddha images in Bhura Watt (or) Buddha Sima

Shwe Yin Taung is situated on the left side of Myeik-Taninthayi road. We find a sitting

cross-legged Buddha image. It was discovered while villager cut were clearing the forest. The

body structure of image is tall and thin. The lines of ear are depicted obviously. The robe was

1 Ponnyettaung inscription in front of Taw Kyaung Sima 2 History of Laykyunseme

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sculptured with leaving bare right breast but a piece of robe was covered on the right shoulder.

The hanging robe on the left shoulder decorated with wavy line. Mudra is Bhumiphassa mudra

but holding a pill in left hand. The Usnisa looks like conical shape. (see photo 14) There is no

record that who and when it was carved. It can be said that style of the image is the arts of

Amarapura Period (1782-1819).

Although it is called Sima, no stump of consecration was found. It lies at Pin O village

on the road of Myeik-Yangon. It became known as Shwe Htan Taung Sima because it was built

on Htan Pin Taung. A native of Pin O village said that this hill was covered with clump of

bushes and creepers and everyone was afraid of going there. Sometimes, the villagers saw the

reflection of light on the hill. When they reached there, they saw this Bhura Watt and renovated

it. One can be seen the images in different postures –standing position, sitting position, sitting

cross-legged position and recumbent position. The image is carved in sitting position at the fore

front of Bhura Watt. The face is long and oval and the lip is thin. The right palm spread upwards

was placed on the lap. The left palm is spread downward. The Usnisa is like a bulb with sharp

tip. (see photo 15) And then, we find the sitting cross-legged Buddha image with Bhumiphassa

mudra. The image style is the same with others except the wavy line of the robe. (see photo 16)

At the back, the standing Buddha image is sculptured with Karuna Mudra. (see photo 17) And

we can see the image in recumbent position with the right hand supporting the head. (see photo

18) Among small Buddha images, one of the images is extraordinary. This image is placed near

the head of reclining Buddha image. This image has eleven fingers; the left has six and the right

has five. (see photo 19) it seems that the donators carved this image to escape eleven marks of ill

(eleven Dukkhās)1. In other words, it might have eleven fingers because of the mason's

carelessness.

Shwe Kyaung was built in 1791. We can observe the crowned Buddha image in standing

position. It is made of alloy and decorated with gold. It is adorned with royal dress, royal crown,

ornamental earflaps attached to crested headdress and sash. Foot-wear was also put on. It is 29.6

inches high. (including pedestal thirty-five inches) Mudara is Abaya mudra – have no fear. (see

photo 20) Title of this image is Abayamuni. Shwe Kyaung Sayadaw said that though there was

on fire in Myeik in 1986, this monastery was left unburnt because of having this image. The arts

of the image seemed to be the arts of Bagan Period. Moreover, there is a image of early 19th

century. The Usnisa is like flame-top. (see photo 21)

1 Eleven Dukkhās: Jāti- ill of birth, Jarā - ill of decay, Marana - ill of death, Soka - ill of sorrow, Parideva - ill of lamentation, Kāyika - bodily ill, Cetasika - mental ill, Upāyāsa - ill of despair, Apīyasampayogo - ill due to association with enemies, Piyavippayogo - ill due to seperation from loved ones, Lcchāvighata - ill due to nonfulfilment of wishes (Buddhism Handbook, Yangon, Tetlan Sarpay, 1997)

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Min Kyaung is built by Pethonsa: Man: (1813-1816). Bronze Buddha image with sitting

cross-legged position can be seen in the main building. The Usnisa is a knob covered with full-

lotus bud. The fingers are not equal in length. There are some scripts at the basement of image

but it has faded away because of rubbing and it cannot be read. Min Kyaung Sayadaw said that

Pethonsa: Man: venerated this image. (see photo 22) And then, we can find two Mam Bhurā:

lacquered image of the Buddha. The styles of these images are likely to be the feature of early

Konbaung Period. (see photo 23) There are images in different positions inside Min Kyaung

Sima. The arts of these images are similar to the arts of latter part of the 18th century. Some of

twenty-eight Buddha images are renovated to keep ancient style and some are reformed into

present style.

We can also find a huge standing Buddha image in Kalwin Quarter in Myeik. Its height

is eighteen half yard (twenty-seven feet). Therefore this Buddha image is called 18 Ton Standing

Buddha Image. It was carved in June 1952 according to the inscription inscribed on the lotus

pedestal. The attitude of the right hand is pointing out position and the left hand holds the robe.

The robe worn by the image is lotus robe and the sculptor made it decoratively. (see photo 24)

Atulamahālokamarajin Image is donated by a Nun, Daw Nyunt Hpyu. It is situated at

Tatpyin Auarter, Myeik, near Petonman: cetiya. This Bronze Buddha Image with sitting cross-

legged position was casted in 1870 and it is twenty seven feet high. (see photo 25) Mudra is

Bhumiphassa Mudra and Asana is Paryankasana. The style of the robe is depicted in wavy line.

The edge of the robe on the left shoulder is hanging in the front. The right shoulder is covered

with a piece of robe. The Usnisa is like a knob covered with full-lotus bud. This Buddha image

shows charity and generosity of the donor.

Mandalay Kyaung is situated Myintnge Quarter. Fortunately, I found a standing Buddha

image in this monastery. It has a distinctive characteristic feature compared with other images.

(see photo 26) The style of the image is seemed to be in the process of having a bath. It has no

robe on upper portion of the body. It can be assumed that both the hands of the Buddha are

holding the robe, which is filled with water. It is said that the founder Sayadaw of this monastery

carved this image about one hundred and forty years ago. The present Sayadaw of the

monastery, U Acchariya, is also uncertain of the date when this image was cast. It is not sure

why and with which opinon the founder Sayadaw casted this image.

Conclusion

Most of the Cetiya in Myeik are solid structures like those of present day. In constructing

the cetiya, the base was built first. Then the three preceding terraces and the bell were made.

7

And then the ringed spire tapering upwards was cemented and the finial was fixed. For the

construction material, brick was the most common one. We can examine the development of the

Buddha images in Myeik. Some style seemed to be the arts of late 18th century and early 19th

century. Moreover, the arts of late Period are also found there. Some images are accompanied

and related with Thai style. Unfortunately, we do not find the records of the Buddha image.

Most of the people and Sayadaw do not know when were carve these image and when and who

built these Cetiya. Because of the lack of preservation and knowledge of historical value, the

records are ruined, scripts were lost, some faded and not clear. I suggests that from the historical

point of view, we should renovate ancient images and cetiya keeping and retaining their

historical documents and styles. Anyway, by studying these images, we can guess the arts of that

period and we can evaluate charity and merit of the people to preserve and perpetuate the

Buddha Sāsana.

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photo 1

photo 2

photo 3

photo 4

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photo 5 photo 6

photo 7 photo 8

10

photo 9

photo 10

photo 11

11

photo 12

photo 14 photo 15

photo 13

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photo 16 photo 17

photo 18

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photo 19

photo 20 photo 21

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photo 22 photo 23

photo 23 photo 24

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photo 25 photo 26

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- Khin Thidar, The Veneration of Buddha Images (1752-1819), paper submitted to the Seminor

in memory of U Mg Mg Tin (M.A), 22 November 2002

Interview with Monks and Laymen in Myeik

-Ven. U Acara, Watt Teik Kyaung

-Ven. U Naginda, Min Kyaung

-Ven. U Nana, Min Kyaung Sayadaw

-Ven. U Nanuttara, Kusinarum Thein (Sima) Kyaung Teik

-Ven. U Panninda, Shwe Kyaung Sayadaw

-Ven. U Pantavamsa, Aggamahasaddhammajotikadaja, San Kyaung

-Ven. U Tejobhasa, Mahaganthavacakapantita, Taw Kyaung Pariyatti Sarthin Teik

-U Aung Than, Member, Trusteeship, Min Kyaung

-U Hla U, Secretary, Trusteeship, Taw Kyaung

-Daw Khin Yon, Member, Trusteeship, Ashe Thein Kyaung Teik

-Daw Myint Si, Associate Professor, Department of Chemistry, Myeik University