Monday, August 6, 2007

Chinlon - Myanmar Traditional Sport

Chinlon is a cane ball composed of wicker-work. Cane or rattan, a wild creeper which grows profusely in many forests of Myanmar is a very resilient fiberous gift of nature which Myanmar people have been using for various purposes since time immemorial. In olden days houses in rural areas were mostly built of bamboo, thatch or palm leaves and rattan was used instead of iron nail for tying the structure intact. Strips of cane or rattan are interwoven in bands into a ball of four inches, a little more or less in diameter leaving twelve pentagonal holes. Very light but resilient chinlons are cheap and easily available at any village stall and a chinlon lasts quite long.

Traditionally playing chinlon was strictly a man's pastime for exercising the body when the back and limbs got cramped due to long sitting, standing or working. But since post-war times the fairer gender has broken this masculine monopoly to display feminine body elasticity and skill in playing it.

Because chinlon is played basically with foot and other parts of the body - head, shoulder, elbow, knee, heel, sole etc. except for the hands, foreigners look upon it as Myanmar football. But there is no goal to shoot in chinlon playing and no fixed number of players needed to play it. The main object of chinlon playing is to keep it as long as possible in the air without touching it with the hand. It may be played by a single individual all by himself or by a team of players in circle, catching the chinlon as it comes round their way and keeping it as long as possible in the air by tossing it up with leg, heel, foot, sole, knee, shoulder, head but not with the hand. Players usually play with bare feet and have their waistcloths (longyi) tucked up close round the middle. But to day both men and women players wear shorts and canvas shoes. For men, chinlon playing provides a good opportunity to show off their masculine physical beauty especially if the body, thighs, hands and chest are well tattooed.

It is so nice or even exciting to watch a good player or a team of players in circle, standing on one leg all the time, taking every possible posture and movement to keep the chinlon in the air or to prevent it from touching the ground, giving one another difficult strokes, negotiating by tossing, kicking and bouncing - all tactical movements, and spectators applauding when they appreciate skill and stroke of the players. If chinlon is played as an entertainment at a festival, it is accompanied by music. A band of percussion and wind instrumentalists continuously play while the chinlon play is on, and music changes its tempo in harmony with the movements of chinlon and players. A skilful player can play with four to eight chinlons using all possible tactics to keep them on or around his or her body.

When and how chinlon originated in Myanmar is an academic question to be addressed by researchers. But a silver chinlon was discovered enshrined in the relic chamber of Baw Baw Gyi Pagoda at an old Pyu City "Sre Kestra" near Pyay. There are also references to chinlon and chinlon play in folk songs and literature. Besides quite a few books on chinlon and techniques of chinlon playing have appeared in the vernacular language. In the British colonial days an account of chinlon play was given by C.A. Gordon in 1874. Some foreign globetrotters mention it as one of the native games in their writings. There was one British high-ranking official cum writer Sir J.G. Scott who fell in love with chinlon and who had his thighs tatooed and played chinlon with Myanmars. But in his book The Burman, His Life and Nations which he penned with a nom-de-plume "Shway Yoe", Scott disagrees with those foreigners who look upon chinlon as a game, for he thinks that a game is a striving between two or more competitors for supremacy. Chinlon is designed simply to exercise the body.

If Shway Yoe were still alive he would be happy to find that his favourite chinlon has developed into a Myanmar game, gaining popularity at home and abroad. In 1908 a Sports Competition was held at the Rangoon (Yangon) Government High School Chinlon was first introduced as a game and competition was by a marking system. In 1940, the All Burma (Myanmar) Chinlon Competition was held at BAA (Burma (Myanmar) Athletic Association. When the Second World War broke out, endeavours to further develop chinlon came to a halt. But on 29, June 1953 the All Burma (Myanmar) Chinlon Conference was held at Rangoon (Yangon). Delegates from 33 districts attended the conference and they unanimously laid down and approved the game law and regulations whereby chinlon games were prescribed by the chinlon game law, namely (1) Individual competition for chinlon tossing, Single (2) Individual competition for chinlon tossing, Double (3) Chinlon competition by team of players in circle and (4) Chinlon competition by team of players in circle for displaying skill, posture and beauty of style. All together 15 styles were registered by the game law according to the movement of chinlon (1) fall (2) rise (3) give (4) take (5) control (6) toss (7) turn-up (8) coming in (9) going out (10) cornering (11) attack (12) cut (13) support (14) touch the ground and (15) up lift.

There are many details regarding grades of competition, size of chinlon, measurement of circle for team players, terms for postures, styles and tactics and chinlon jargon. Myanmars are football enthusiasts but chinlon is still in their heart.

MYANMAR FAMILY

Myanmar Family

A Happy Myanmar Family

Much has been said about the institution of family in Myanmar, that it is essentially a relationship based on specific duties and responsibilities on the part of husband, wife, parents and offspring. These rights and duties are taken seriously and adhered to closely (although being human there may be lapses). Love and respect, rights and responsibilities are the foundations of a Myanmar family irrespective of religious creed. This holds true today as it did in ancient times and is a tradition that we hold dear. But there is another basic element that knits a family together although it has not been given much prominence. And that is the love and humour that is very much a part of Myanmar family life. Not much has been said about the fun and laughter that a Myanmar family enjoys, but it is there. The ability of the Myanmar people to look on the lighter, if not funny side of life is carried over into family relationship.

As, I'm sure it has been mentioned often enough, the father of a family is the "Ein Oo Nat" (Lord of the forefront of the house). Which also implies that the mother rules the rest of the household. The term "Lord of the front of the house" will probably conjure up a stern and remote figure to be approached warily with humility and respect. Far be it. There is even a popular song "Hpay Hpay Gyi Ko Chit Tai" meaning "We love big Daddy". Generally, we think father melts quicker than mother when a child sheds a few crocodile tears. Mother sees through the children's foibles and fables and when she picks up a cane children are apt to run crying to father.

Myanmar people as parents are usually indulgent with children. No self-respecting mother will let her infant child cry but pick it up at the first whimper. But by school going age they have been taught the basics of discipline and morality. Mother sees to that. But, there is a lot of fun and laughter that help to strengthen the bonds of love. Father on return from work is greeted joyfully by the children. They run to him, clamber over him and ask for goodies. A small daughter is quite capable of running into the bedroom and come out trailing a "pasoe" (men's nether garment) for father to change into. Another older child might run to fetch a glass of cool drinking water or a fruit juice. All this goes on till mother shoos them away for father to have a bath and relax a bit.

Then there is the evening meal with the family around the table. The first choice morsel goes to father, but it somehow gets back to the tiniest tot or others in turn. The parents eat sparingly if they are not affluent and see that the children get the lion's share. But you should listen to the chatter and banter at the dinner table. Father teases one or the other of the children. Myanmar children can be mischievous and deliberately let cats out of the bag. - about mother scrimping on meat and groceries to buy the latest 'batik'. Or someone or other will say artlessly that father's breath smells tangy or sour- if he has had a secret nip or two on the way home much to mother's annoyance.

There may be some form of corporeal punishment in poorer homes where the parents are ignorant and under some financial stress, but downright physical or mental abuse of children is rare. And if there is, the neighbors will see to it that it doesn't happen too often. There may be tears but there is also humour and affection.

A pre-teen son will try to support a staggering drunken father and put him to bed and an elder daughter baby sits younger brothers and sister for mother who is out trying to supplement the family's income. When such a family comes into a windfall, they will all get dressed in their best and get on a crowded bus or mini-bus to go the pagoda or, to the zoo if they should happen to live in Yangon. In smaller towns and villages they will go to a video hall (for want of a better word) or go see an all-night drama (zat pwe) at some pagoda festival. The children will gorge themselves on ice-lollipops and all kinds of roasted things - corn, peanuts, pumpkin and sunflower seeds or a wide variety of Myanmar snacks. Each of them, if lucky, may have a helium balloon or at the very least a Myanmar papiere mache doll to play with.

If a foreign visitor is observant enough, he will probably see on weekends or on holidays, a family dressed in their best, the youngest child in the mother's arms, the second youngest astride the father's shoulders and the rest tugging at mother's skirt or father's pasoe straggling along the sidewalk on their way to catch a bus home. The parents look hot and exhausted and the children are tired too. But for them all, it has been a day of fun and excitement, a day they will talk about for a long time afterwards, till the next holiday comes around.

Myanmar children are taught to love and respect their parents. But they may like all children, sometimes "talk back" to parents and be cheeky. When the parents are in a good mood they get away with a mild rebuke, if not they're in for a spanking. But the children do not fear their parents. They are wily enough to know how far they can go.

The close bonds of Myanmar family life become clear when a daughter or son enters the teens and start to show an interest in the opposite sex. A growing daughter makes the father fidgety and he looks on all boys as: "swine among the pearls, they marry little girls". But when the son shows an interest in girls, the Myanmar father, like all fathers, preens himself and thinks "Oh! chip off the old block." On the whole, especially in middle class educated families, an offspring is free to choose his or her mate, within reason.

Sometimes, of course, there is a runaway marriage. If it is a daughter, a mother will beat her breast and shed oceans of tears. But then the boy's parents come along with downcast eyes and apologies and assurances that they will put things right, that is, hold a wedding feast to declare to all and sundry that their son has chosen his bride. If however the son of the house has brought home a wife, then the boot is on the other foot. The boy's parents have to take the girl back to her parents and give assurances of their good will. Sometimes of course things go sour, but it's rare. And when a grandchild comes along all is forgiven. All focus is now on the newcomer who will be showered with love from grandparents, parents and uncles and aunts plus a horde of relatives.

Insitute of systems science



Graduate Diploma in Systems Analysis - August 2007 and February 2008 Intake

Programme Synopsis


The Graduate Diploma in Systems Analysis programme is designed for non-IT graduates
who recognise the need to equip themselves with the latest IT knowledge and skills,
and wish to advance their careers in their current field. It also provides an
opportunity for non-IT graduates in crafting a new career path in the IT industry.

In this eleven-month FULL-TIME programme, students are taught how to built IT solutions through lectures, workshops, laboratory sessions, projects and industrial attachments. Students will also learn and practise the techniques taught to gather user requirements, systematically analyse and design feasible solutions; they will then move on to code, test and implement these solutions. The numerous projects in this programme give students many hands-on practices to deliver IT solutions covering client/server, internet/intranet and wireless platforms.

The programme emphasises building and enhancing essential soft skills such as project management qualities, independent/co-operative team working attitudes and effective team leader techniques. Students will be assigned to work in "Project teams" learning through "on the job training".

By the end of the programme, students will have a good grasp of Object-Oriented analysis and design based on Rational Unified Process (RUP) and Unified Modelling Language (UML). They will also be introduced to Object-Oriented programming using C# .Net with Visual Studio IDE, Java. JSP (Java Server Script), EJB (Enterprise Java Bean) on J2EE. In addition, they will be proficient in building internet solutions using ASP.NET and Web Services and mobile solutions using WML and J2ME.

Future Careers
Having graduated twenty-five batches of students, this programme is going into its 26th year. Many of our graduates are now prominent senior IT professionals, who have benefited from this programme. The curriculum is frequently reviewed and revamped to ensure that the skills taught are those crucially needed by the IT industry.

Our graduates are employed in IT positions such as:

* IT Auditor
* IT Security Administrator
* Systems Analyst
* Systems Programmer
* IT Consultants
* IT Marketing Executive
* Web Developer
* Project Leader
* Application Engineer
* System Specialist
* IT Engineer

Moving On
Many of the graduates from this programme further upgrade their skills after a few years in the IT industry। They are fully eligible to take up Master programmes with NTU, NUS and other universities. A number of them enrolled into ISS' "Master of Technology (Software Engineering)" : a part-time programme designed for working IT professionals and managers who wish to upgrade their knowledge and skills while pursuing their careers.

Registration & Information » Admission Requirements

Applicants must possess the following pre-requisites:

* Bachelor degree from a reputable university
* Proficiency in the English Language (written and spoken)
* Some work experience preferred
All applicants are required to take an aptitude test. Shortlisted applicants will also need to attend an interview.
Foreigners are welcome to apply.
It should be noted that all decisions in the application process are at the discretion of ISS management.

Registration & Information » Fees, Funding & Loans

A non-refundable applicaiton fee of $32.10 (inclusive of 7% GST) must accompany your application. Payment can be made through:
# Cash/NETS (if in Singapore, from Mondays to Fridays)
# Cheque/bankdraft (payable to "National University of Singapore". On the reverse side of the cheque/bankdraft, please write your name and contact number)
# Credit card (only Visa and MasterCard are accepted).

Any queries about payment (or telegraphic transfer payment mode), please contact Ms Betty Seow at isssls@nus.edu.sg or +65 6516 6607.

Successful applicants (accepted into the programme) are required to pay the following fees:

Fees for Academic Year 2007-2008 (SA27)
Registration fee Annual Tuition Fee Exam fee Miscellaneous fee Health & Insurance
Singaporeans and Permanent Residents $52.50 $5,450 $262.50 $193.60 $114.55*
Foreigners $52.50 $6,000 $262.50 $193.60 $114.55*
Fees for Academic Year 2008-2009 (SA28)
Registration fee Annual Tuition Fee Exam fee Miscellaneous fee Health & Insurance
Singaporeans and Permanent Residents $52.50 $5,450 $262.50 $193.60 $114.55*
Foreigners $52.50 $6,000 $262.50 $193.60 $114.55*

* All current and new full-time graduate students must be insured under GMIS, unless they can provide documentary proof of alternative coverage that is acceptable to NUS.
All fees are in Singapore dollars and are inclusive of GST.

Note: Fees are correct at time of posting and are subject to changes without prior notice.

Tuition fee is only payable by GIRO.
Tuition Fee Loan
Up to 90% loan of the tuition fee payable are available for students who are enrolled in the full-time undergraduate and graduate (research and coursework) studies at NUS.

Curriculum » Industrial Attachment

Industrial Attachment (IA) is a very crucial component in the Graduate Diploma in Systems Analysis Programme. This is where students are sent to work in a real-life setting. They have to quickly adapt to companies' working culture, pick up new technical skills and domain knowledge if required, propose feasible IT solutions, develop and deliver the solution to the satisfaction of their users.
The life cycle of an IA Project can be very unpredictable. User requirements, project schedules and end product expectations change as the project progresses. Students have to be versatile and flexible to handle these challenges to complete the IA project.
Our past students have found IA experience very rewarding and a necessary transition stage to prepare them for an IT career life।

Curriculum » Terms and Exams

27th Intake
11 months
(1st August 2007
to
31st July 2008) Semester Duration
Semester 1 10 weeks
(lectures, workshops, projects, continuous assignments)
3 Day Semester Break
Semester 2 16 weeks
(lectures, workshops, projects, continuous assignments)
One Week Semester Break
Industrial
Attachment 5 months
Daily attendance from 9am to 5pm

(Note: Semester break and duration may be subject to change.)

28th Intake
11 months
(February 2008
to
January 2009) Semester Duration
Semester 1 10 weeks
(lectures, workshops, projects, continuous assignments)
3 Day Semester Break
Semester 2 16 weeks
(lectures, workshops, projects, continuous assignments)
One Week Semester Break
Industrial
Attachment 5 months
Daily attendance from 9am to 5pm

(Note: Semester break and duration may be subject to change.)

Exams
Paper 1 20-30% Continuous Assessment Week 1 to week 10 of semester 1
70-80% Open Book Written Exam Last week of semester 1
Paper 2 20-30% Continuous Assessment Week 1 to week 10 of semester 1
70-80% Open Book Written Exam Last week of semester 1
Paper 3 20-30% Continuous Assessment Week 1 to week 10 of semester 2
70-80% Open Book Written Exam Week 12 of semester 2
Paper 4 20-30% Continuous Assessment Week 1 to week 10 of semester 2
70-80% Open Book Written Exam Week 12 of semester 2
Paper 5 20-30% Continuous Assessment Week 1 to week 10 of semester 2
70-80% Open Book written exam Week 12 of semester 2
Paper 6 100% Project Last 4 weeks of semester 2
Industrial
Attachment
Project 100% Project, Presentation & Reports 5 months of Industrial Attachment with external organisastion

To be awarded the Graduate Diploma in Systems Analysis, students are required to

* Fulfill the minimum attendance rate
* Complete all continuous assessments
* Pass all exam papers
* Attain the minimum Cumulative Grade Point
* Complete the Industrial Attachment satisfactorily।

Curriculum » Modules


Once every two years, ISS will organise a Curriculum Review Meeting with senior executives of prominent IT industry players to review the curriculum of the 'Graduate Diploma in Systems Analysis' programme.

The purpose of this review is to ensure that the skills and knowledge taught are relevant and up-to-date. The IT industry in Singapore is evolving very quickly. It is important that ISS equips the students with leading edge skills and knowledge for their future IT careers.


Methodology

Application Development Life Cycle
In this unit, students are guided, step by step, to perform the tasks and produce the deliverables in the various stages/phases of an application development life cycle. The unit focuses on Business Modeling, Requirement Gathering, Analysis, Design, Testing and Implementation. The life cycle adopts the Object Oriented approach using Unified Modelling Language (UML) as a standard notation and is based on the Rational Unified Process (RUP).

A real life business scenario is created to allow students practise every stage of the development life cycle through 'on-the-job-training' in an IT Project Team.

Technology

Distributed Computing Infrastructure
This unit introduces the various hardware and software components that make up a distributed computing infrastructure. The purpose and functions of these components and their roles in the implementation of a distributed enterprise IT solution are explored.

Databases

Databases
Students will learn the functions and purposes of databases in IT applications. This unit will explain Database Management System (DBMS) concepts and the architecture components of a typical DBMS.

SQL Programming
To teach students the role and importance of SQL as a database manipulation, definition and control language. SQL concepts, components, capabilities and usages will be introduced. In addition, students will learn to develop stored procedures on SQL server. They will also learn fundamental database administration tasks with the aid of developer tools.

Programming: C# Suite

Fundamentals of Programming using C#
This unit lays the foundations for programming. Programming logic development using flow charts and pseudo codes will be covered in detail. The module uses C# language constructs for demonstrating programming concepts. Emphasis will be laid on structured programming approach for software development. The unit will be supported by workshops that would illustrate programming situations in the Business Environment.

Object Oriented Programming using C#
This unit focuses on building a strong Object Oriented Programming (OOP) foundation for the students. It emphasises best practices of OOP and provides in-depth knowledge on software development using Object-Oriented techniques. Concepts such as classes, inheritance, polymorphism, and interfaces are taught with numerous examples. Students are given ample workshops to implement these OOP concepts using the C# language.

User Interface Development with Visual Studio.NET and C#
This unit teaches students to effectively develop Graphical User Interface (GUI) using Visual Studio.NET Integrated Development Environment (IDE) and C#. Through examples and workshops, the students will learn the features and functionalities of a typical IDE for GUI Application development. Upon completion, students will be well versed in the development of function rich clients and will be able to carry out programming using Visual control with clear understanding of their properties, methods and events.

Developing Enterprise Systems with .NET Framework
This unit covers the development of IT solutions for a distributed infrastructure. Student will learn to develop different types of software components to run on client machines and server machines. Microsoft .NET will be used for the client side development with SQL Server as the database. The unit will expose students to advanced concepts such as creating user-defined objects with ADO.NET and transaction management. Development of MIS reports with the aid of reporting tools and integration of the Client Server model will also be taught.

Programming: Java Suite

Java Programming
This unit provides a clear understanding of Object Oriented Programming (OOP) with Java as the vehicle. Apart from preparing the students on OOP, the unit will provide extensive coverage on the features of the Java language. Data structures and algorithm development will be taught. The unit includes File Input/Output handling and Multi-threading models.

Advanced Java
Students will learn Java Database Connectivity (JDBC) architectures and Java Data Objects (JDO) to obtain persistence objects. They will use these knowledge to develop Java-based solutions accessing database information.

Building Enterprise Application using J2EE
This module provides concepts of J2EE platform. Students will learn to develop programs using JSP, Servlets and EJBs and will deploy them in an enterprise architecture. Internet based development will also be covered.

Internet Application Development

Multimedia And Internet Technology
The unit covers the Web page development using HTML programming. It also introduces Web publishing tools for Web page development. The unit focuses on the design and development of multimedia elements for the Web environment. The multimedia elements will include graphics, audio, video and animation. The tools used for the Multimedia content creation include Macromedia Director, Adobe Photoshop, Adobe Premiere, Creative Wave Studio and etc. The students will also be using equipment such as the Digital Camera, Scanner and Video Capturing Tool.

Internet Programming With Microsoft .NET Framework
This unit provides an insight to the Back Office integration on Web platform. It covers the advanced internet programming on both the client and server sides. The client side technology discussed in this module includes JAVASCRIPT, ACTIVE X control and Java Applets. The server side technology will include ASP.NET and ADO.NET. The unit will also include integrating the Web application with the Back Office database management system using the different server side technologies.

Project Management

Roles and Responsibilities
This unit introduces students to the various types of IT professions and the organisation structure of a typical IT department in a company. Students will be able to understand the roles and responsibilities of various state holders in an IT project.

Project Planning and Control
This unit prepares students to meet the challenge of managing IS projects. Students will get an appreciation of the discipline through an introduction to the nature of project management, management areas, common difficulties in managing IS projects, human factors in project management, and the project management methodology. Project planning techniques such as work breakdown structure, cost estimation, precedence analysis, scheduling and cost benefit analysis are covered.

Change Management and Control
In this unit, students will learn to expect the many changes that will surface in the life cycle of an IT project. Students will learn to evaluate and prioritise these change requests and to manage risk in delay in project delivery.

Business Communication
Effective business communication is one of the critical factors in the success of an IT project. In this unit, students will learn and practise good interviewing techniques to derive requirements from 'End Users'. They will learn to prepare and deliver quality presentations to End Users, Management and other IT stakeholders.

Mobile Solution

Mobile Application Development
In this unit, we will cover technology aspects in mobile wireless technology development. It includes wireless network infrastructure (2.5G, 3G, bluetooth), mobile application architecture, mobile user interface design and mobile application development.
It introduces J2ME architecture, CDLC and MIDP API. Students are required to understand the role of J2ME in wireless development and are expected to do an assignment which covers the design and development of a mobile wireless application using J2ME (Java 2 Micro Edition). In addition, development of enterprise application using SMS (Short Messaging Services) is also covered.

MYANMAR THANAKHA

Myanma Thanakha

Prim city matrons are loud in their grouse and usually their discontent is with the spiraling of prices of meat and fowl. Now, it is also scarcity of coconut hair oil and, as a last straw, the forbidding prices of Thanakha. Thanakha - botanical term (Limonia Acidissma Linn ) is essential as well as a favorite cosmetic which comes in the form of a yellow paste applied to the face and goes under the name of Thanakha. Hence, this has developed into a topic of lively comment in the Myanmar Media. The origin of Thanakha is scarely capable of being historically traced as it springs from the earliest glimmerings of civilization. The Queen of Peikthano (Srikhsetra Over 2,000 years ago has been recorded as a lover of "thanaka".

Following the destruction of the Shwemadaw Pagoda in the earthquake of 1930, the clearing the ruins there led to the discovery of a circular stone slab used by Princess Razadatukalya, daughter of Hanthawaddy Sinbyshin Minn for grinding the Thanakha bark . Afterwards, the slab was donated to the Pagoda as a valuable antique.

Myanmar Feminine society is possibly composed of the world's lovers of perfumed wood, but, through illumination provided by history, not exclusively so. Greek, Phoenican and Roman galleys bringing oriental merchandize rarely forgot to include cargoes of scented wood. But probably, in those ages it was too precious to be afforded by woman commoners. Scented wood could only find their way into the boudoirs of aristocratic beauties such as Cleopatra. And for those ancients, as perhaps also for the modern man, a small casket made of perfumed wood would be an ideal present for someone we wish to honour or please, or both.

Some say, Thanakha is conspicuous as a rarity among urban Myanmar womenfolk. I wonder, It is admittedly far less used in town than in the countryside. But it does command an appreciable scale of appeal amongst townspeople. While the Modern Miss might not use it when going around the town, as a rule she does favour it as a finishing touch after a bath when at home, for the "thanaka" is fragrant in addition to having an astringent quality. Now, maybe it is faced with competition from modern beauty aids.

But feminine trends in fashion are unpredictable. Now and then, after a fleeting craze for the new-fangled, they surprisingly revert to the traditional. Of course, it is in the Myanmar village that the practice of applying Thanakha regularly is rooted so strongly as to defy the impact of time. But it draws its strength not from any sentimental attachment for it on the part of the rural public. But rather because it is still cheap. Unlike face powder, its stays fresh and keeps its dainty smell for a considerable length of time. It also possesses a little something that its competitors in trade have not got.

For Thanakha means not only a cosmetic for beautifying the face. It is also a cleansing agent possibly without compare for uniqueness. It is a blessing in tropical heat. It removes body odours. Because of such attributes, Thanakha is used by many men and woman in villages and not a few towns.

MYANMAR LONGYI

Myanmar Longyi

The Myanmar "longyi," a sarong-like nether garment is an integral part of the Myanmar national dress worn by men as well as the fairer sex. It is basically a piece of cloth sown into a cylindrical tube, slipped over the head by men and stepped into by the women and tucked in at the waist. Men and women however fasten their longyis at the waist in different ways. Men fold the garment into two panels and knot it neatly at waist level. In olden days the knot was tied neatly and sported a triangular flap. For the ladies it is a wrap-around skirt tucked in at the side of the waist. It may be wrapped from right to left, which is more common, or from left to right, depending on the comfort of the wearer. The term "longyi" refers to this nether garment in general for both men and women. But the ladies skirt has a plain black strip of cotton about 5 inches wide sewn and attached to the top part of the circular skirt. It is known as "Ahtet hsin". It helps to keep the longyi firmly in place especially if it is of silk or satin. It prevents frequent adjusting and keeps the skirt neat and level. To further differentiate between men and women’s wear, the garment for men is known as "pasoe" and for women, "htamein."

These garments are usually made of cotton for everyday wear and of silk, satin or the better quality synthetic fabrics for formal wear. The masculine patterns are mostly checks or squares or sometimes vertical stripes or horizontal circular bands. Most men shun flowered patterns but they do sometimes wear the silk "acheik", the horizontal "wave patterned" bands of bright coloured silks on ceremonial occasions. The "acheik" is a traditional royal design for both and women and it is said that the ancient designers were inspired by the waves and ripples of the Ayeyarwady River. The main centre for silks and cottons is Amarapura and Mandalay, but there are other famous silk and cotton weaving industries in the Inle region, the Rakhine State and Mon State.

The Kachin and Chin State also have their special hand woven designs. But the Inle silks with their artistic flowered patterns are popular with the ladies. Then there are the silks and cottons with designs of a hundred small birds known in Myanmar as "Kye Tayar" and checkered patterns with tiny dots and stars in the centre of each square, which are much in demand. Each of these longyis is traditionally hand woven on small looms in the town of Yaw on the west bank of the Ayeyarwady River in Central Myanmar. Nowadays these longyis are popular with men as formal wear.

The ladies of course have a wider choice. They wear patterns of flowers, stars, checks, stripes, or even impressionistic splashes of all colours and shapes. Some prefer self coloured plain textiles of bright or sombre hues. The "longyi" is thus the basic lower garment of Myanmar wear. Topwear is another matter altogether, especially for the fair sex.

In the old days, men wore a stiff-collared shirt, buttoned down the front and it was usually white. It is the same as a western style shirt, and this has been worn ever since they abandoned the traditional Myanmar style long shirt. The shirt was either long-sleeved or short-sleeved. Men usually wore short-sleeved shirts with collar on informal occasions. But today, they have switched to T-shirts and sports shirts of all colours and designs for casual wear. But they still wear the longyi for all occasions. Formal occasions and office wear require men to don a jacket over the shirt. The jacket is of thicker material than the shirt and is worn open in front but has Chinese style cloth buttons and loops on each side. They hardly ever button up the front. It has two large pockets below and two smaller ones at the top on both front panels.

Formerly top wear for the ladies consisted of a waist-length blouse known as an "Aingyi". At one time its length was waist length but worn to show the "Ahtet Hsin". But later it was further lengthened to just about cover the black strip of cloth on the ladies’ longyi. The blouse had a squarish flap that was buttoned at the side, somewhat like the top half of the Chinese Cheongsam. The blouse had no fixed buttons, just loops. Buttons of all shapes and colours would then be fastened on these loops. Each button had a ring through which the loop would be passed and then slipped over the button to keep it in place. There were always five loops for the set of five detachable buttons – one below at the front, three at the side and one at the neckline.

The ladies could thus keep a variety of buttons and select them to match the skirt and blouse to be worn. Wealthy ladies wore buttons of gold and diamonds, rubies, sapphires, pearls and other precious and semi-precious gems. There was another style popular in the 1930s. It was a blouse with a front opening with button loops down the front. This style was called the "Yin Si", meaning as opposed to the "Yin Hpone" with the opening at the side. Before World War II only long sleeves were worn, and at one time the sleeves were loose and flared at the bottom. The jackets were made of thin coloured or printed material.

The plain white blouses often had embroidery on the hems of sleeves or waist. Then during World War II ladies began to shorten the length of their sleeves. One reason given was that cloth was scarce during the war;in fact it was unavailable. But the ladies’ jackets, after many washings, began to show signs of wear and tear especially at the elbows. So some enterprising Myanmar lady cut off the lower half of the sleeves rather than wear a torn aingyee or discard it altogether. This is said to have set the fashion for short sleeves, that grew shorter as the years went by and finally ended up as a sleeveless blouse.

The quarter length sleeves also came into fashion together with a stiff chinese style collar. Although the Chinese collar is no longer very popular the quarter-length sleeves has now claimed a permanent spot in Myanmar fashions. The blouse material also grew thinner and more transparent to show off the dainty lace and embroidery of the under garment – a long-line bra that tucked into the skirt. This fashion of transparent top wear had its roots just before the Second World War and was highly disapproved of by the general public and the Buddhist clergy who found it immodest, offensive and unpatriotic as well.

So when the fashion re-emerged after the War it still failed to gain the approval of our straight-laced Myanmar society. So it enjoyed only a short period of popularity. But the enduring longyi stayed the same throughout the intervening years.

Today, ladies’ top wear, especially casual wear has gone overboard. The traditional Myanmar blouse has not been entirely discarded and is still kept in reserve to be worn on every formal occasion. But most Myanmar ladies, young and old have taken to wearing loose and comfortable western style blouses and T-shirts of all designs and colours. But they still wear them over the longyi. Some of these blouses are so long they almost cover the knees. Necklines have also been lowered both front and back, and some have been daring enough to wear tank tops, but with the ubiquitous longyi. Not only do parents and elders frown on this daring style, the innate modesty of most Myanmar girls has prevented the proliferation of immodest fashions.

Even the calf-length longyi that was in vogue a short time ago, is over its heyday and the Myanmar longyi is back to ankle-length. I think Myanmar women are smart enough to realize that the longyi can hide a multitude of sins especially if one happens to be short and stocky. Moreover the long sweep of the longyi enhances the beauty and elegance of our young and lissome girls. They appear both slinky and innocent. So the longyi is still the favoured garment. The Myanmar ladies have experimented and adopted new fashions and styles, yet they cling to traditional fashions. For them there is a time and place for different fashions. The Myanmar long-sleeved jacket is still worn by housewives, office workers, teachers and Middle schoolchildren. The longyi and the Myanmar style jacket are a MUST for all formal occasions.

It is true today’s fashions have brought about some changes in ladies’ longyis. They may have slits at the sides, front or back. They may have a false front flap and maybe worn by zipping it up at the side or back. They may also wear it shorter than the traditional longyi. But the cut and pattern is still recognizable as a Myanmar longyi. But for informal wear, nothing can beat the comfort of the old tube- shaped cylinder which is still worn by almost all Myanmar people, men and women alike. For however modern one maybe, the "pasoe" or "htamein" is still very much favoured over jeans,trousers, mini and midi skirts and what have you.

The Myanmar longyi is also catching on as fashionable wear for foreigners. Tourists of both sexes can be seen in longyis on the streets of Yangon and I have heard that the wrap-around skirt has become quite a fashion in some countries like Australia. I think fashions in Myanmar may come and go, but the longyi will go on forever. There are a variety of textiles in Myanmar and some popular ones are Acheik, Silkware and Lotus robe.

PATHEIN UMBRELLA

A Parasol from Pathein

The umbrella industry of Pathein, the capital of the Ayeyarwady Division of Myanmar’s delta region, is well known worldwide. This cottage industry was established in Pathein over a hundred years ago.

The first umbrellas were made of paper, but through experience the makers became innovative and began to produce umbrellas with canopies of cotton, silk and satin with attractive floral designs. These newly fashioned umbrellas gained popularity with the ladies and sales expanded to the whole country. It also attracted visiting foreigners who would purchase Pathein umbrellas as souvenirs or for interior decoration on walls and for use as unique lampshades.

The production of the Pathein umbrella is more or less a family industry, and there is division of labour in the making of a single umbrella. Each worker is assigned a different task, with one responsible for making the framework of ribs and another the shaft, with still others making the canopy, the grip, the hub which holds the ribs together, and even the wedge or switch for opening and closing the umbrella. Each person works separately and is a specialist so to speak in his own line of work.

The shaft and ribs of the umbrella are made of bamboo and the hub and grip from softwood known locally as “Ma-U Thit”. The raw materials of bamboo and wood are obtained from the lower hill slopes of the Rakhine Yoma Mountain Range near Chaungthar, which is close to Pathein.

When all the different parts made by different craftsmen are ready, they are put together to make an umbrella. Then the canopy, dyed in pastel shades of mauve, pink, green and blue to deflect the sunlight, are attached to the frame, but there are a few darker shades too, such as black, dark blue and bottle green. When the canopy has been fixed to the rib frame, small flowers of varying shapes and colours are painted on the background colour.

The wonder of it is that many different parts made by different hands all fit so snugly together, that one is able to open and close the umbrella smoothly without a hitch. Once the umbrella is folded then a small bamboo ring wrapped in coloured wool thread and attached with the same thread to an indentation on the grip, can be slipped on to the folded umbrella to keep it tightly closed.

The bright and colourful Pathein umbrella seems to give added grace and allure to Myanmar feminine beauty. Pathein umbrellas in all sizes and colours are readily available in any shopping arcade or market throughout Myanmar, and since it does not take up much space when neatly folded, it would be ideal for foreigners to buy this lovely item as a gift for someone special.

Pathein umbrellas are now beginning to catch the eye of young women from abroad. So, may be some day soon, the picture of a willowy young girl swaying gracefully along catwalk with a Pathein umbrella shading her could become part of the international fashion scene.

THE LARGEST GOLD BUDDHA IMAGE

The Largest Gold Buddha Image

One of the musts in your itinerary in Mandalay, the last Capital of old Myanmar should be Maha Muni, the largest gold Buddha Image housed in a gilt brick temple of late 19th century architectural design, situated in the south-west township.

The two Pali words Maha Muni meaning "the Great Exalted Saint ", is one of the attributes of the Buddha. But the Mandalayans call it ' Hpaya-gyi ' (the great Buddha ) because of its superlative size. Brought from Mrohaung in the Rakhine State by land over the mountain ranges, and by water via the Ayeyarwaddy River, in A . D 1784 by the son and heir of King Bodawpaya ( A.D.1782-1819 ) the sacred Image was housed in a big ornate building constructed at the then Capital, Amarapura. In A.D 1884 the building caught fire but the sacred Image was miraculously saved. Originally it was an alloy, but now it is heavily gilded.

It is estimated that nearly two tons of gold is encrusted on it. The gold crown and the body ornaments it wears are solid gold with several precious germs studded on - rubies, sapphires, emeralds, jades, diamonds, pearls etc donated by pious devotees. Representing the Lord Buddl1a in a sitting-posture with legs folded under the body, the Image rests on a masonary pedestal six feet, ten inches high. The dimensions of the Image itself taken in 1917 are:

Description of part Feet Inches
Height 12 7
Waist 9 6
Arms 4 11
Width from Shoulder 6 1
Width at Base 9 0

But since that date years of daily gilding have changed the above measurements. The Image is now massive with gold foil.

The image is reputed to be of very great antiquity. Its legend says that it was cast during the visit of the Lord Buddha who exhaled his breath into the Image. So it was blessed and consecrated by the Lord Buddha. But the Rakhine Chronicles claim that " in the year A.S. 146 a king named Chandrasuriya came to the throne of the Rakhine State… In His reign a metal image of the Buddha was cast."It is an object of fervent adoration to Buddhists he world over. The solid gold canopy installed above the Image is a recent one, weighing 18viss. In the last few years, the Mandalayans donated four votive pieces of solid gold -- an alms bowl, a food container, a water ewer, and a stemmed salver. The temple which houses the Image has a terraced roof of gilt stucco which is of modern construction but of classical design.

The original roof was destroyed by fire in 1884. Four entrances facing the four cardinal points lead to the central shrine. The passages were once adorned with frescoes; those on the northside depicted the event of bringing the Image from the Rakhine State to Amarapura owing to repairs and renovations many of these have been wiped out and only a few remain. In the inner precinct are set up a number of inscribed stone slabs, collected by order of King Bodawpaya, with copies of inscriptions recording religious endowments.

Not far from the western entrance is a group of bronze figures, two of men, three of lions, and one of a three headed elephant housed in a square brick hall. They were brought from the Rakhine State at the same time as the Maha Muni Image . Originally, the bronze figures were Khmer, taken to Ayuthia, when Siam won the war with Cambodia. In A.D 1553, whin King Bayint Naung returned in triumph from Ayuthia he brought them to his Capital Hamsawaddi, Pegu. In A.D.1660 when King Razagyi of Rakhine State invaded Hamsawaddi Pegu he took them to his Capital Mrauk U. dyspeptics seek to cure their ailment by thrusting their fingers into the navels of the human figures and twisting them round and round.

Next to them are two of the largest gongs of bronze, one in triangle shape called " Kyey - si" and the other a circular one called " Maung " each housed in a separate hall. They were cast a few decades ago . Because of their great size. They were not allowed to function but are kept stationary. The history of the casting of these two gigantic votive objects may be read on the billboards inside the halls.

On the south - east of the Temple is a large tank of turtles. Wherein Buddhists let fish or turtles go free as an act of life saving charity. The Maha Amuni Image was accompanied by numerous Image attendants and familes of service men who were settled in the areas around the Temple. In the courtyard on the north - east of the precinct, there stands a stone inscription recording the manner in which the image was brought from the Rakhine State.

Well, readers, come see for yourselves and marvel at these Myanmar Superlatives.

BEIKTHANO (THE LOST CITY IN MYANMAR)

Beikthano City (or) The City of Vishnu

Ancient Center of the Pyu People of MYANMAR.
Beikthano transliterated from “Vishnu” the Preserver, the second of the Hindu triad, is the oldest of the 3 ancient Centres of Pyu Civilization.

Chronologically Beikthano flourished during the 1st to 5th centuries CE, the second being Thayekhittayar (Srikestra) now called Hmawzar which lasted from the 5th Century to the 7th Centugy. Hanlin, the last Pyu Kingdom was located farther north in the Shwebo District of Sagaing Division and was most probably the Pyu Kingdom that the Chinese chroniclers described in their dealings with the “Piao” and records of delegations from the Pyu kingdom to the Chinese court in 801-802. At any rate, Halin was sacked and burned in 832 by the Nanchao Kingdom from the north.

Beikthano city is located 12 miles west of Taungdwingyi Township, Magway Division on the Taungdwingyi-Magway Highway. Its co-ordinates are latitude (20°) North and (95° / 23’) East and is built on ground 450 feet above sea level. The ancient city of Beikthano covered an area of 3.3 square miles. The eastern city wall was 10,000 feet in length, the northern wall was 9,000 feet, the southern wall was 8,000 feet, while the western wall has collapsed owing to soil erosion caused by the action of the Yanpè Creek.

Beikthano was defended by two walls, a City wall and an inner Palace Wall. Both of these walls were more circular (or rather rhomboid) than square in shape.Huge, specially shaped bricks had to be baked to be fitted as proper corner stones for these walls. Neither the City walls nor the Palace Walls were defended by moats. The majority of the Pyu citizenry lived outside the city walls or in the surrounding countryside.

They were content to live in houses made of wood and bamboo but insisted on their monasteries being built of wood and brick and their city and Palace also achieving corresponding grandeur. An account of Beikthano was recorded in the Tang Dynasty (618-907) Chinese chronicle Man Shu in the chapter “The Southern Barbarians as follows:

“The circular wall of his (the Pyu King’s) city is built of greenish glazed titles (brick) and is 160 li. It has 12 gates and three pagodas at each four corners. . . Their house tiles are of lead and zinc. . . They have a hundred monasteries with bricks of vitreous ware, embellished with gold and silver, vermillion, gray colours and red kino.” [Taw Sein Kho (1895), The Pottery and Glasware of Burma 1894-95”,Superintendent of Govt.Printing, Rangoon.]

The usual dates ascribed to the Beikthano kingdom are from the 1st Century CE to the 5th Century CE when the city gates and the Palace Walls were burned to the ground.

Charcoal from the excavated sites have been radio carbon-dated to the 1st century C.E. Conflicting scientific evidence however emerged at the 5th Radio Dating Conference (1962) of the International Dating Conference, Cambridge University, U.K., where the decay of Radio carbon (14) from samples from Beikthano indicate that they should be more properly dated to 1950 B.C.E., i.e. to nearly 2000 years earlier than the First Century C.E. The charcoal samples for these analyses were taken from the two lowest strata of a religious edifice unearthed at site No.(9) as well as charcoal from the two bottom strata at site No.(10).


Religious Beliefs

One mystery surrounding Pyu religious beliefs is that although they built hundreds of monasteries and were Buddhist attested by contemporary Chinese chronicles, there is a surprising dearth of Buddhist artifacts in all three Pyu Kingdoms.

This has led to conjectures that the Pyu received their Buddhism from Andra Pradesh in Southern India. The excavations have uncovered artifacts that are related to those found in Andra Pradesh, with dates corresponding to the periods in which most of the Andra Buddhist material at Amaravati and Nagarjunakone was made ( i.e. during the second to fourth centuries.)

As Prof. R.L.Brown, Professor of Indian and Southeast Asian Art History at the University of California at Los Angeles succinctly puts it:

“Another problem is that no Buddhist artefacts have been found at Beikthano. One suggestion is that this mysterious absence is due to Andran Buddhist influence predating the adoption of iconic representations of the Buddha and thus represents the aniconic period at Amaravati (before the end of the second century.)[ Brown. R.L. Pyu Art, Looking East and West”]. U Aung Thaw offers a similar suggestion that the Buddhist sect at Beikthano rejected the worship of the Buddha image. [U Aung Thaw, Reports on the Excavations at Beikthano, Rangoon, 1968. p.66]

Hanlin in Upper Myanmar resembles the two other Pyu sites in having no Buddhist artefacts either.


Pyu Culture

Beikthano city and its environs reflect the culture of the Pyus. The populace cremated their dead and buried the ash in funeral urns or jars outside or even within their dwellings.

They appear to have gained considerable expertise in the making of burial urns. Over 700 such urns have been uncovered together with 45 intact covers and show the influence of many decorative styles.

They were also accomplished masons, being able to construct brick walls and edifices that have lasted to the present day. The insides of some buildings have been artistically decorated with stucco figurines, lime-wash and paintings.

The craft of blacksmithing seems to have been also developed as evidenced by the iron-work on the City Gates, hinges and decorative scroll work and the production of iron weapons such as swords, spear-heads, arrow-heads and bows.

The Pyus also seem to have been adept at pottery making, judging from the 2060 pots and jars uncovered comprising pots for water carrying, jars for water storage, and cooking pots.

The gate to the city wall at dig No.8 has also revealed a twice life-sized marble figure presumed to represent a Nat (Animistic) Spirit Guardian of the City indicating that Pyus were also accomplished sculptors in marble.

A small paper-thin exquisite gold cup and two similar silver cups that have been excavated bear witness that goldsmithy and silversmithy too were well developed among the Pyus.

Skeletal Remains

When one of the religious edifices (Dig. No. 14) was excavated a stretched out skeleton near the south wall was uncovered. Along the north wall were lined up two piles of human bones. The outstretched skeleton remains were carefully marked, labeled and shipped to Prof. Dr. H. Zaw Htun of the Faculty of Anatomy, Institute of Medicine, Yangon for scientific examination.

Dr. Zaw Htun’s findings indicated that the remains were of a healthy Mongolian male, 25 years old and 5’ 5” tall. The cause of death was due to a heavy blow delivered to the right temple.

Beads

A total of 780 beads, comprising large numbers of earthenware beads and (29) stone beads were recovered from the excavations. At building No. (17) alone 500 beads were found and possibly indicates that the building was some sort of bead factory. Some of the stone beads were coloured either red or yellow or black. The art of colouring stone beads seems to have reached an unprecedented high during the Pyu period.

Conclusion

Beikthano was destroyed in the 4th or 5th Century C.E. Buildings and city gates were consumed by fire, indicating that it was the result of enemy attack. After a short period as a ruined city, it was rebuilt again as a succeeding kingdom, only to be sacked again and burnt to the ground. However the Pyu people continued to occupy the surrounding countryside in spite their no longer having city-walls and a Palace to protect them. The next Pyu kingdom was established down-river at Thayekhittara (Sri Kshestra), 5 miles west of Pyay that grew to prominence during the 4th and 5th Centuries CE.

10MYANMAR ARTS

Panbe ( the art of blacksmith )

The art of Panbe ( black smith ) is the tempering of iron in the furnace to make necessary items. The artisans make ox cart axle, ox cart iron, tyre, scissors, hammer, adze, pickaxe, knife, hatchet, axe, digging hoe and mattock. The Myanmar’s traditional blacksmith craft emerged in the early of Bagan period (11th century A.D) and it had improved in the mid Bagan Ava and Yadanapon period. Myanmar’s traditional blacksmith craft, from Inlay region were famous in the Yadanapon period.Many types of blacksmith craft articles are available, such as military armour, weapons, file, pickaxe, mattock, hoe sword, etc. The Myanmar’s traditional blacksmith craft is very famous in the South East Asia and constitute one of the artistic wonders of the world.


Panbu ( the art of sculpture )

The art of Panbu ( Sculpture ) means the one which produces figures and floral designs made of wood or ivory. The artisans make the figure of human beings and animals and floral designs. Myanmar’s traditional sculpture emerged before the Bagan period and it improved in the middle of Bagan Era. Myanmar’s sculpture base the religion of Buddhism which arrived from Southern India in the 11th century A.D.Most of the wood sculptures of Bagan and Ava periods have been lost under various circumstances and only a few are left today. One outstanding wood sculpture belonging to the Bagan period is the one at the old portal of Shwesigone pagoda at Nyaung-U. Those who want to see wood sculptures of Yatanapon (Mandalay) or latter Yadanapon periods should visit following places:
*Shwe-inbin Monastery, Mandalay
*Bakaya Monastery, Inwa
Myanmar’s traditional sculpture contains wood sculpture stone sculpture and plaster sculpture but more wood sculptures will be seen in many arts and crafts shops, in many cities of Myanmar. The wood sculptures are liked by many people in the world to-day.


Pantain ( the art of gold and silver smith )

The art of Pantain ( gold or silver smith ) is an enterprise of making items of gold or silver. Silver smith is the art of making drinking bowl, receptacle bowl, prize-cup, shield and belt. Gold smith is the art of making ear-plug, ear-drops, ear-ring, with a screw-on back piece, finger-ring bracelet , Pendent and necklace. Myanmar’s traditional arts and crafts artistic creation of gold and silver wares come under the genre (ba-dain) art of making items in gold or silver. Creating silverware had been with Myanmar for the past one thousand two hundered years, and judging from the workmanship of the silverware that belong to those early years, it is indeed something for the Myanmar’s to crow about. According to the crystal palace chronicles, during the reign of King Anawrahta the relices of Buddha and the three repositories of Buddhist scriptures were brought to Bagan from Suvunna Boumi, the mon capital, along with them came mon artisans and works of mon arts and crafts, gold and silverware etc. Going further back into the past, we find Pyu silver works of art discovered from the mounts of old shrines of Sri Ksetra.


Pantin ( the art of bronze casting )

The art of Pantin is an enterprise producing materials of copper, bronze or brass. The artisans make triangular brass gong, gong, and brass bowl for monk, weights in the shape of brainy ducks, tray, copper pot, cup bowl, cymbal, bell jingle bell and small brass gong. Myanmar’s traditional coppersmith’s craft emerged before Bagan period and it improved during Bagan and Ava period. Every pagoda in Myanmar has bells, which were struck to tell the people of good deeds done. They are triangular bells which twirl when struck and ring with a sweet rising and falling tone, which gradually fades away. Moreover there are gongs, slung from carved ivory or wood elephant trunks, which are prized as dinner gongs. Different sizes and shapes of bells, all unmistakably Burmese in design, are popular as souvenirs. So are other castings such as weights and cow bells.


Pantaut ( the art of making floral designs using masonry )

The art of Pantaut ( stucco sculpture ) means a handicraft of making decorative floral designs in relief with stucco. The artisans make the figures of lions, dragons and floral designs with stucco. Myanmar traditional stucco carving emerged before the Bagan period and it improved in the Bagan, Ava, Amarapura and Yadanapon period. According to the historical records, Stucco works were very famous in Bagan period. Stucco works of Bagan period have detailed decorations. After Bagan we had Stucco carvings of mid-Konbaung or Amarapura period, which are very Burmese in style and very fine. The curled leaves and buds, though few, look very beautiful. The buds and flowers in bunches in the centre of the portal at U Kin-danke are unique. Menu’s brick monastery at Ava stands magnificently today with wooden pyathad durrets above it. The great building itself is a work of art to command our admiration.


Panyan ( the art of bricklaying and masonry )

The art of Panyan ( mason ) is an enterprise which constructs the buildings using bricks, stones and cement. The masons build brick houses, Pagoda, bridges. Myanmar’s traditional masonry works enjoys world wide renown for the ancient Pagodas and other religious buildings around the Bagan region. The Myanmar’s traditional masonry of Bagan period is the highest developed of all the historical periods. Their works are remarkable for their strength, grandeur beauty of form, immensity of volume, detailed and appropriate decorations and the power to hold the spectators in awe. The masonry of mid Amarapura period is beautiful and lively but to be placed only in the second order, behind Bagan. The Myanmar’s traditional masonry have derived from the mon’s culture of Suvanna Bhumi and in the Southern Indian’s culture flun the 11th century A.D. In Fact - Masonry in Myanmar emerged since the Pyu period in the 1st century A.D.


Pantamault ( the art of sculpting with stone )

The art of Pantamault ( stone sculpture ) is the one stones curving. The artisans make Buddha images pole for sima, pillar, leograph, elephants, deer, circular flat stone, pestle and mortar and table. Sculpture in stone is a significant feature of Myanmar fine arts, has to this day been the pride and honour of Myanmar people. There are sculpture studios or workshops in Yangon, Mandalay and other towns in the country, but the majority of studios are concentrated in Mandalay. Very fine works of art in stone are to be seen at plaques depicting the life of the Buddha at Ananda, Bagan. Flower designs in the interior of the portal at Kyawkku-U min, Naung-U Nanhpaya, Myinkapa plaques partraying the 550 Buddhist birth-stories at Puhtotawkyi, Amarapura and the great image at Kyauktawkyi, at the foot of Mandalay Hill.


Panpoot ( the art of turning designs on the lathe )

The art of Panpoot is an enterprise to make wooden utensils turning on turners lathe. Such as making shaft of umbrella, table legs, and legs of bed and turnery posts for Pavilions and railings. Myanmar’s traditional crafts of a turner emerged in the Bagan period in the 8th century A.D. The craft of a turner is an art which is made by rubbing the woods on the turner’s lathe. Craft of a turner artists based on the traditional styles of Bagan, Ava and Yatanapon period. Besides that, Myanmar’s craft of a turner artists is very interesting. Diversity in the shape of the craft of a turner, food containers, boxes, bowls, taunglon tables, chairs etc. all makes them attractive. The Myanmar’s traditional arts and crafts owed a great deal of influence of Mon, the people of suvanna Bhumi-artists and artisans the Southern India’s culture in the early Bagan period.


Panchi ( the art of painting )

The art of Panchi ( painting ) is the one which illustrates living animals and inanimate objects using different colours. The artists paint the figures of human beings, animals, objects, scenery designs and cartoons. Myanmar traditional painting developed with the religion of Buddhism in the Bagan Region. Thus, Bagan become a repository of ancient Myanmar traditional paintings and sculptures in the 11th century A.D. Because of Myanmar artist’s achievements, we have more paintings of Konbaung period than those of Ava, they are more colourful and lively. During Yadanapon of Mandalay period more painting was done in folding books called purapaik and on canvas than on the wall. The wall paintings at Mahamuni Pagoda in Mandalay were executed in later Yadanapon period. Most of these paintings have been copied and collected by the Archaeological Department, Myanmar.


Panyun ( the art of making lacquer ware )

The art of Panyun ( Lacquerware ) means a handicraft which produces materials made of bamboo, wood and thick black varnish (sis-se). Lacquerware artisans produce alms food bowl, bowl for monk, and bowl of pickle tea, lacquer vessel, drinking cup, betel box, and cheroot box. Myanmar traditional lacquerware emerged in the early part of Bagan period. Myanmar traditional lacquer ware drawing styles derived from many stories of Buddha’s life. Burmese lacquerware is one such product, whose art goes back to the 11th century. On a framework of woven, finely cut strips of bamboo, mixtures of thit-see resin with clay and ash are carefully built-up and finally polished with the ash of fossil wood. The designs are then etched or painted by hand. The most traditional Burmese lacquerware is of a unique terracotta colour, with scenes from the jatakas, the Buddha’s former existence, etched and then filled in with green pigment. More modern designs are in deep, velvet black, with simpler figures laid on in gennine gold leaf. Many types of Burmese lacquerware articles are available, such as boxes, vases, trays, bowls and even coffee tables. Bagan, site of the architectural wonders of the East, is the home of this craft.

नाग्पली BEACH

Ngapali Beach
The best beach resort in Myanmar, also once known as the "Naples of the East", is located on the northern coast in Rakhine State. Nagpali is an unpolluted, unspoiled beach stretching over 3 km with crystal clear blue sea and clean white sands fringed with coconut groves as far as your eyes can see. This unspoiled beach is 35 minutes flight from Yangon or 14 hour drive along the narrow winding road over the Rakhine Yoma ( Mountain Range) after crossing the Ayarwaddy River at Pyay (Prome).
There are no loud beachside bars, no rows of suntan-oiled bodies basking in the sun and no vendors pressing you to buy souvenirs. Instead guest will only find the idle seaside character of - the sea, the sand and the sun. The fiery sunset, for which the Bay of Bengal is noted for, can be watched right from your doorstep. The 18-hole Golf course is located 15 minutes drive from the beach to fulfill the taste of beach golfers.
Nearby fishing villages are also interesting places for visitors to the beach. If you are eager to have a look at natural and primitive sceneries, it is where you can witness how fishermen set and draw drift nets and how their family supports them in the workplace. Ngapali Beach opens from October to May.

MRAUK U

Mrauk U
One of the best archaeological site as attraction is situated in Yakhine State, on the South-Western part of Myanmar. The ancient capital founded by Rakkhine King Minsawmon in 1433 AD.. Mrauk U period flourished between 15th century and 18th century. The city is 80 km from the north of Sittwe, port city once known as the Golden Gate by the west. The early 17th century was Rakhine's Golden Age for it's trading with western countries such as Holland, Spain, Portugal, Maldives, Italy and south India. The temples and Pagodas are strategically located on the hilltops and look like fortresses. There are many countless Images spreading all over with some are in ruins and influenced by Indian culture and civilization. Shitthaung Pagoda, Kothaung Pagoda, Anndawthein, Laungbonpyauk, Dukkhanthein, and Pitaakataik are famous ancient Temples with countless stupas. About 8km from Mrauk-U is Ve'Sali, an archeological zone from 4th century. This ancient city is earlier than Mrauk-U period. Ve'Sali was succeeded by a series of small cities although Mrauk-U remained.

KYAIKTIYO

Kyaiktiyo (Golden Rock) in Kyaikhto
KYAIKHTO is a small town and popular for its wish fulfill Golden Rock Pagoda. About 160 km from Yangon. This mystical Pagoda is about 18ft tall and is built on a huge boulder about 50ft in girth. This boulder is balancing precariously on the edge of 18ft high rock and separated from the mountain edge by a deep chasm over 1100M above sea level. It is indeed an overwhelming sight, how the boulder keeps its balance is beyond comprehension, but it was been there for 2500 years.
There is a steep road winding up from Kinpun base camp to Golden Rock about 13 miles by truck. There are only few Hotels with modern facilities for the visitors.
Kyaiktiyo - Golden Rock
This mystical pagoda built in the enshrinement of Buddha relic stands on a gold gilded boulder, precariously perched on the edge of the hill over 1100 km above sea-level.
The big boulder the circumference of which is about 50 feet, rests on top - to be exact - on the edge of the rock. At a glance, with ignorance of the gravity, it appears that the boulder will fall at a slight push. The shape of boulder is like a human head. A small pagoda 23 feet high, was built on top of that boulder. By using a piece of bamboo strips as a lever, with a piece of thread tied to one end and placed under the rock you can pass the thread from one side to the other side of the boulder which goes to show that the boulder supporting the Kyaiktiyo Pagoda does not touch the rock below it. The pagoda on top of the boulder is called in Mon language Kyaik-I -thi-ro, which means "pagoda carried by a hermit on the head" Kyaik-I-thi-ro later came to be known as Kyaiktiyo Pagoda. The hill on which the Pagoda stands is also called Kyaiktiyo Hill.It takes about 5 hours to reach Kinpun base camp at the foot of the hill. When getting there, you can enjoy 'trekking taking 4 fours' or 'a steep winding motorway heading to the nearest camp of the pagoda. Many legends about the pagoda and the 'nats' or 'spirits' can not be counted. Kyaikto, the town at the foot of the hill, is about 160 km from Yangon. It is a 11 km uphill climb for the hikers from Kinpun base camp. There is also a steep winding road for 4-wheel drive cars from the base to the nearest point of the pagoda. There are many legends about the pagoda and the 'nats' or 'spirits'. Kyaikhto Hotel and Golden Rock Hotel have modern facilities for tourists.

PINDAYA CAVE

PINDAYA CAVE

Pindaya is situated at 1164-m above sea level and is 40-km from Kalaw. It is noted for its extensive limestone caves and Shwe U Min Paya which is full of Buddha images of about 8000 a and picturesque Boutaloke Lake. Pindaya itself is a centre for the Myanmar speaking Taung-yo people. Local handicrafts include Shan paper and parasols made from mulberry bark.The town's symbol is a spider. According to the legend, seven princesses bathing in the lake took refuge in the cave during a storm where they were imprisoned by a giant spider. It is a good place to begin short treks to surrounding Danu, Pa-O, Palaung and taung-yo villages.
Pindaya Caves
The Pindaya caves are in limestone ridge overlooking the Pindaya lake and is full of thousands of Buddha images made from alabaster, teak, marble, brick, lacquer and cement which have been put there over centuries and arranged in such a way as to form a labyrinth throughout the various cave chambers. In these caves, you may come across lay people practicing meditation. The Pindaya caves are in limestone ridge overlooking the Pindaya lake and is full of thousands of Buddha images made from alabaster, teak, marble, brick, lacquer and cement which have been put there over centuries and arranged in such a way as to form a labyrinth throughout the various cave chambers. In these caves, you may come across lay people practicing meditation.