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The Central Plain
A semi arid landscape sparsely dotted with temples
Dhammayan Gyi temple (Nr 771) is noted for its massiveness, with its powerful shape that dominates any Pagan vista. Viewed from a distance its shape is like an Egyptian pyramid. The ground plan is based on the Ananda's Greek cross type. The crowning sikhara is now lost.
The remarkable feature of this temple is the massive structure that survived several earthquakes of the past centuries due to its excellent technique of brick-laying. used.
Stucco ornament survive on some of the side entrance openings with deity figure in the apex. The stucco remaining on some of the window pediments is of makara, floral ornament and kirtimukha.
The temple is even more majestic and imposing inside with long, narrow corridors with high ceiling. It has two circumambulatory vaulted corridors and four devotional halls at the four cardinal points.
In the west hall there are two identical Buddha images seated in the bhumisparasamudra beside each other. The symbolism of this unusual double Buddha is explained in the Lotus Sutta: the moment when two Buddha, the latest Gotama and the future Buddha Mettaya, sit together on one throne; symbol of the change and the continuity of the Dharma. On the reverse side of the reredos is a parinibbana scene.
In the eastern devotional hall there is a monolith seated Buddha in dhyanamudra, sculpted out of a single piece of hard stone, with taut serious face, short necks and broad body, unlike the usual cheerful and benign iconography.
Some mural paintings of the walls are still visible representing Buddha, floral designs and geometrical patterns.

Dhammayan Gyi temple

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South-west of the Dhamma-yan-gyi, are the two Gu Ni temples, medium to large in size, each similar yet different to the other the North Guni (nr 766) and the South Guni (nr 769).

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Dhammayan Gyi temple


Sulamani Temple “Crowning Jewel" (Nr 748). Very similar to the later Hti-lo-min-lo this red brick temple consists of two storeys, both with square plan a hall projecting to the east and surmounted by receding crenellated terraces with small stupas at the corners. Makara, ogres and other fine stucco ornaments are still in excellent condition, with the additions of glazed terracotta plaques still visible.
Visitors enter the temple from the west, a circumambulatory vaulted corridor with true arches and radiating voussoirs runs around the central core where on each side there are the main Buddha images while smaller Buddha statues sit along the corridor. Stairways with brick balustrades lead to the upper shrine trough idden passages in the walls (the passages are now blocked). The heavely restored main Buddha image is on the eastern hall (corresponding to the original entrance), while the paintings on the walls are from the 18th century and represents the motif of the seven weeks (that followed the Buddha enlightenment at Bodh Gaya).
The paintings of the corridors are the result of various restorations and other intrusive paintings offered as acts of devotion from the 18th century, while the murals of the vaulted ceilings belong to the time of construction of the temple. Ogres painted on the major doorways welcome the visitor, the walls of the corridors are covered with large paintings of reclining Buddha, seated Buddha flanked by disciples, Buddha shielded by Muchalinda, in the doorway chambers before the stairway ther is the recurring motif of the white king elephant.
The paintings of the south corridor take much of the wall with scenes of the Buddha, part of this huge composition depicts various scenes of everyday life in Burma.

Sulamani Temple

Myanmar photographs


Pyathada Temple (Nr 803) south of Sulamani, is a popular sunset spot, with a giant open terrace with on top a stupa.

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Pyathada Temple




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