164
TEMPLES OF BAGAN
THE TEMPLES
Tayok Pye Paya BUDDHIST TEMPLE
trut'e ̈p".ur;"
A couple of hundred yards north of Leimy-
ethna by dirt road, this spired temple gets
attention for the views from its upper reach-
es (though its top level is now closed).
Payathonzu BUDDHIST TEMPLE
.ur;"ou®"zU
Across the main road from Tayok, this com-
plex of three interconnected shrines (the
name means Three Stupas) is worth see-
ing for its 13th-century murals close up. It
was abandoned shortly before its construc-
tion was complete. Each square cubicle is
topped by a fat sikhara; a similar structure
appears only at Salay (p 128 ). The design is
remarkably like Khmer Buddhist ruins in
Thailand.
You enter the middle shrine. To the right
(south) are scratched-up, whitewashed
walls. The other two shrines (particularly
the northernmost one) are home to lovely,
vaguely Chinese- or Tibetan-looking mural
paintings that contain Bodhisattva fi gures.
Whether these indicate possible Mahayana
or Tantric infl uence is a hotly debated issue
among art historians. Some drawings are
rather crudely touched up.
The three-shrine design hints at links
with the Hindu Trimurti (triad) of Vishnu,
Shiva and Brahma, a triumvirate also asso-
ciated with Tantric Buddhism. You might
also say it represents the Triple Gems of
Buddhism (buddha, dhamma and sangha),
except that such a design is uncommon in
Asian Buddhist architecture, although it
does appear in the Hindu shrines of India
and Nepal.
Thambula Pahto BUDDHIST TEMPLE
smõBlpuqiu"
This square temple, surrounded by crum-
bling walls just north of Payathonzu, is deco-
rated with faded Jataka frescoes and was
built in 1255 by Thambula, the wife of King
Uzana. It’s often locked, but go to the (shaded
at midday) doors and peek through the gate
to see into wall and ceiling murals. A mural
of a boat race can be seen from the southern
entrance; good ceiling murals are seen from
the north side.
Nandamannya Pahto BUDDHIST TEMPLE
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Dating from the mid-13th century, this
small, single-chambered temple has very
fi ne frescoes and a ruined seated buddha
image. It’s about 220yd north of Thambula;
a sign leads down a short dirt road. (It’s the
one to the right.)
Nandamannya earns its reputation from
its mural of the ‘Temptation of Mara’, in
which nubile young females (vainly) attempt
to distract the Buddha from the meditation
session that led to his enlightenment. The
undressed nature of the females shocked
French epigraphist Charles Duroiselle, who
wrote in 1916 that they were ‘so vulgarly
erotic and revolting that they can neither be
reproduced or described’. Times change: the
topless women can be seen, without blush-
ing, on the back left wall.
The murals’ similarity with those at
Payathonzu has led some art historians
to suggest they were painted by the same
hand.
Just behind the temple is the Kyat Kan
Kyaung, a working underground monastery
dating from the 11th century. Mats on the
tunnel fl oors are used for meditation.
Nyaung U Area
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The main site in this area is the superb
Shwezigon Paya.
Shwezigon Paya BUDDHIST TEMPLE
erác–'"xu®.ur;"
At the west end of Nyaung U, this big, beauti-
ful zedi is the town’s main religious site, and
is most famous for its link with the 37 nat.
Lit up impressively at dusk the gilded
zedi sits on three rising terraces. Enamelled
plaques in panels around the base of the
zedi illustrate scenes from the Jataka. At the
cardinal points, facing the terrace stairways,
are four shrines, each of which houses a
13ft-high bronze standing buddha. Gupta-
inspired and cast in 1102, these are Bagan’s
largest surviving bronze buddhas.
A 4in circular indentation in a stone slab,
before the upwards-heading eastern steps,
was fi lled with water to allow former Myan-
mar monarchs to look at the refl ection of the
hti without tipping their heads backwards
(which might have caused them to lose their
crowns).
The most important site here is the small
yellow compound called 37 Nat (in English)
on the southeast side of the site. Inside are
fi gures of all the 37 pre- Buddhist nat that
were offi cially endorsed by Bamar monarchy
in a compromising gesture towards a pub-