Bagan Temple Locations

Monuments

Estimated Date

Ananda (Bagans holiest site)

Old Bagan

Ananda Okkyaung

Bupaya

Bulethi

Location

1137 Old Bagan

3rd C

Old Bagan

Dhammayangyi

1163

Old Bagan

Gawdawpalin

12th C

Old Bagan

Hnet Htat Sintu

11th C

Old Bagan

Htilominlo

1218 Old Bagan

Kayan Ma Ba

Lawkahteikpan

12th C

Old Bagan

Mahabodhi

12th C

Old Bagan

Mahazedi

13th C

Old Bagan

Mee Nyein Gone

12th C

Old Bagan

Mimalaung Kyaung

1174

Old Bagan

Mingalarzedi

1277

Old Bagan

Myauk Guni

1241 Old Bagan

Myoe Daung Monastery

19th C

Old Bagan

Nathlaung Kyaung

931

Old Bagan

Ngakywenadaung

10th C

Old Bagan

Nwar Pya Gu

13th C

Old Bagan

Pahtothamya

11th C

Old Bagan

Pebingyaung

12th C

Old Bagan

Pitaka Taik

Shinbinthalyaung

1057 Old Bagan

11th C

Old Bagan

Shwegugyi

11th C

Old Bagan

Shwesandaw

1057

Old Bagan

Sinmyarshin

12th C

Old Bagan

Taung Guni

1190

Old Bagan

Thandawgya

1284

Old Bagan

Tharabar Gate

849

Old Bagan

Thatbyinnyu

12th C

Ahlodawpyae

Old Bagan

1194 Nyaung U & Wetkyi-in

Gubyaukgyi

13th C

Nyaung U & Wetkyi-in

Gubyauknge

12th C

Nyaung U & Wetkyi-in

Hgnet pyit taung

11th C

Nyaung U & Wetkyi-in

Hmya tha Umin

13th C

Nyaung U & Wetkyi-in

Kondawgyi

13th C

Nyaung U & Wetkyi-in

Kyanzittha Umin

13th C

Nyaung U & Wetkyi-in

Kyaukgu Umin

11th C

Nyaung U & Wetkyi-in

Lawkachanthar

13th C

Nyaung U & Wetkyi-in

Ngarmyethnar

13th C
1199

Nyaung U & Wetkyi-in

Sapada

Nyaung U & Wetkyi-in

Shin Arahan Oakkyaung

11th C

Nyaung U & Wetkyi-in

Shin Mahtee

13th C

Nyaung U & Wetkyi-in

Shwe Laik Tu

13th C

Nyaung U & Wetkyi-in

Shwezigon

1076 Nyaung U & Wetkyi-in

Thagya Hit

13th C

Nyaung U & Wetkyi-in

Thagya Pone
Thamiwhet Umin

13th C
13th C

Nyaung U & Wetkyi-in

Nyaung U & Wetkyi-in

Thetkyamuni

12th C

Nyaung U & Wetkyi-in

Upali Thein

13th C

Nyaung U & Wetkyi-in

Yet Saunt

13th C

Nyaung U & Wetkyi-in

Abeyadana

1102

Myinkaba

Gubyaukgyi

1113

Myinkaba

Gubyauknge

1198

Myinkaba

Manuha

1059 Myinkaba

Myazedi

12th C

Myinkaba

Myinkaba

11th C

Myinkaba

Nagayon

12th C

Myinkaba

Nanpaya

11th C

Myinkaba

Pawdawmu

11th C

Myinkaba

Seinnyet Ama

11th C

Myinkaba

Seinnyet Nyima

11th C

Myinkaba

Soemingyi Monastery

1204 Myinkaba

Soemingyi Pagoda

12th C

Myinkaba

Leimyethna

1222

Minnanthu

Nandamannya

13th C

Minnanthu

Payathonzu

13th C

Minnanthu

Pyathadar (Pyathatgyi)

12th C

Minnanthu

Shin Izza Gawna

1237

Minnanthu

Sinphyushin

14th C

Minnanthu

Sulamani

1183 Minnanthu

Tayok Pye

13th C

Minnanthu

Thambulla

1255

Minnanthu

Thinganyone

1244

Minnanthu

Winido

1243 Minnanthu

Bocho Mi Gubyauk

13th C

Thiripyitsaya & Bagan Myothit

Kyaunggyi Ama

13th C

Thiripyitsaya & Bagan Myothit

Kyaunggyi Nyima

13th C

Thiripyitsaya & Bagan Myothit

Lawkananda

1059 Thiripyitsaya & Bagan Myothit

Petleik East-West

11th C

Thiripyitsaya & Bagan Myothit

Seddana

13th C

Thiripyitsaya & Bagan Myothit

Dhammayazika

1196

Pwasaw

Thitsawadi

1334

Pwasaw

Monument
Number

Cetiya Type

Indian
Temple

monastery

Picture

771 Type 3

Type 3

1612 Type 3

1812 Type 2

1580 Type 2

Central
447 Indian

1608 Type 2

1499 Type 2

1611 Type 3

Type 2

766 Type 3

Monastery

1600 Type 1

Type 1

1498 Type 2

1605 Type 3

1653 Type 4

1584 Library

1570

cave

Type 3

1568 Type 2

1478 Type 2

765 Type 3

374 Type 3

298 Type 3

285 Type 2

Type 2

151 Type 2

65 Cave

cave

233 Type 2

77 Type 3

187 Type 4

Monastery

75 Type 2

259 Type 3

1 Type 2

249 Type 2

235 Type 2
cave

137 Type 2

Ordination hall

155 Type 3

Type 3

1323 Type 3

1391 Type 2

Type 3

Type 2

1328 Type 2

Type 3

1239 Type 3

1193 Type 2

1085 Type 3

1086 Type 3

Monastery

Type 3

477,478,479 Type 2

803

588 Type 3

697 Type 2

748 Type 2
Type 2

482 Type 3

712 Type 2

an Myothit

659 Type 2

995 Type 3

997 Type 3

998 Type 3

Type 2

an Myothit

987 Type 4

947 Type 2

918 Type 3

Comments

Ananda temple is considered to be one of the most surviving masterpiece of the Mon architecture.
Also known as the finest, largest, best preserved and most revered of the Bagan temples. each
entrance is crowned with a stupa finial. The base and the terraces are decorated with 554 glazed
tiles showing jataka scenes (life stories of the Buddha) thought to be derived from Mon texts. Huge
carved teak doors separate interior halls from cross passages on all four sides. Facing outward from
the centre of the cube, four 9.5-metre standing Buddhas represent the four Buddhas who have
attained nibbana (nirvana). Only the Bagan-style images facing north and south are original; both
display the dhammachakka mudra, a hand position symbolising the Buddha's first sermon. The other
two images are replacements for figures destroyed by fires. All four have bodies of solid teak, though
guides may claim the southern image is made of a bronze alloy. If one stand by the donation box in
front of the original southern Buddha his face looks sad; while from a distance he tends to look
mirthful. The architecture of the images were so artistic that they happen to make such appearance.
The eastern and western standing Buddha images are done in the later Konbaung or Mandalay style.
A small nutlike sphere held between thumb and middle finger of the east-facing image is said to
resemble a herbal pill and may represent the Buddha offering dhamma (Buddhist philosophy) as a
cure for suffering. Both arms hang at the image's sides with hands outstretched, a mudra unknown
to traditional Buddhist sculpture outside this temple. The west-facing Buddha features the abhaya
mudra with the hands outstretched in the gesture of 'no fear'. At the feet of the standing Buddha, in
the western sanctum, sit two life-size lacquer statues said to represent King Kyanzittha and Shin
Arahan, the Mon monk who initiated the king into Theravada Buddhism. Inside the western portico
are two Buddha footprint symbols on pedestals.

It is a small red brick building. The inside walls are covered in 18th century paintings
depicting Buddhas life and elements of the history of Bagan. The paintings describes
that the monastery was built by three brothers. Ananda meaning Eternity and the first
vulnerable monk who resided in this monastery was Shin Thuddhamma Linkara and he
died at the age of 69.

The legend says, the third king of Bagan, Pyusawhti (AD 162-243), got rid of the gourdlike climbing plant "bu" that infested the riverbanks, before becoming the king. He was
rewarded by his predecessor, Thamuddarit, the founder of Bagan (AD 108) together with
the hand of his daughter and the heir to the throne of Bagan. He then in the
commemoration of his good luck built a gourd-shaped pagoda on the bank of the
Ayeyarwaddy River. This cylindrical Pyu-style stupa is said to be the oldest in Bagan

The interior floor plan of the temple includes two ambulatories. Almost all the entire
innermost passage, however, was intentionally filled with brick rubble centuries ago.
Three out of the four Buddha sanctums were also filled with bricks. The remaining
western shrine features two original side-by-side images of Gautama and Maitreya, the
historical and future Buddhas. The interlocking, mortarless brickwork at Dhammayangyi,
best appreciated on the upper terraces, is said to rank as the finest in Bagan.
Unfortunately the highest terraces and hidden stairways leading to them are now off
limits to visitors.

Gawdawpalin is counted as one of the largest shrines of Bagan. The temple is a doublestoreyed temple in the late style. It is square in plan, with porticoes on all four sides, but
with the eastern portico projecting further than the others. In the ground storey, a
vaulted corridor runs around a central block against whose four sides are placed images
of the Buddha. A fusion of Myanmarese and Indian styles, this temple has a beautiful
courtyard with a medium-sized stupa and interesting bell hangers

Hnat Htat Sintu Temple meaning "double images". As the name, the temple has a double
zedi on the top and also has a double Buddha Images inside it. The images are the
designs of the 11th century. There was also an image of Vishu found during 1967 and
now the image is displayed in the Bagan Archaeological Museum.

Inside the 46-metre-high temple, which is similar in design to Sulamani Temple, there are
four Buddhas on the lower and upper floors. Traces of old murals are also still visible.
Fragments of the original fine plaster carvings and glazed sandstone decorations have
survived on the outside. The doorways feature nice carved reliefs. Several old
horoscopes, painted to protect the building from damage can be found on the walls of
the temple.

Small pagoda across the road (south) from magnificent gawdaw palin - the pagoda itself
is not much, but you can climb to the roof to have a better perspective on larger
surrounding ones. also lady that sell paintings inside spoke a fairly good english and was
able to answer some questions on history and religion.

A small temple. It is the golden age of the mural. In spite of its modest size, this temple
releases an impression of power and of majesty and the proportions come very close to
perfection. Inside the temple, anyone can be surprised by the unit between so
harmonious architecture outside and paintings. Many wall painting scenes of jatakas
aiming at giving a strong visual impression can found. The choice of the colours is
limited, only dark blue, red and white are dominating.

The pyramidal spire, covered in niches which enclose seated Buddha figures, rises from a
square block. This monument is different from the common bell-shaped ones in Bagan.
The lower section of Bagan's Mahabodhi is quadrangular block supporting the pyramidal
structure.

Maha Zedi Temple has a series of receding terraces, surmounted by a cylindrical or bellshaped dome which continues into a finial of concentric rings. The base of the temple is a
squared-shape base. The steps are very steep to climb up. But once you reach the
terraces, you can view the beautiful scenes of Bagan with the ancient monuments.

It has a square type base and a small stupa on top of it. Inside the main hall lies a large
Buddha Image. The walls are decorated with floral paintings on the sides and on the
ceiling. There are ink inscriptions of the 12th century. There are high passages inside the
temple. Some of the stuccos and masonry works can still be seen.
A nice set of half lion and half dragon mythical beasts guard the stairway leading up this
small, square monastery platform constructed. On top of the platform, a tiered-roof
shrine contains a large Bagan-style sitting Buddha. In front of the monastery stands a
brick-and-stucco pitaka library next to a large acacia tree. In the surrounding area,
venerable tree, library and shrine makes for a special atmosphere are present.
Mingalarzedi is noted for its fine proportions and for the many beautiful glazed jataka
tiles around its three square terraces. The smaller square building in the zedi grounds is
one of the few Tripitaka libraries made of brick. Mingalarzedi's uppermost terrace is one
of the highest points now accessible to visitors. Being the westernmost monument at
Bagan, it's a particularly good spot for a panoramic afternoon view of all the monuments
lying to the east.

Most of its significant elements are from the pre-colonial Kon-baung period; some of the
rooms apparently are later. Its glory and what should be a major claim to prominence lies
in its numerous woodcarvings which are also mostly from the late Kon-baung period of
the mid- to late 19th century.

This temple is situated slightly to the west of the Thatbyinnyu, this is the only Hindu temple
remaining in Bagan. It is said to have been built in 931 by King Taunghthugyi, more than a century
before Theravada Buddhism came to Bagan, following the conquest of Thaton. In design it
resembles the Pyu Leimyethna or four-sided shrines of Sri Keshtra. The main hall and superstructure
of the Nathlaung Kyaung still stand fine today but the entrance hall and outer structures have
crumbled and disappeared. The temple is dedicated to the Hindu god Vishnu. The central square of
brick supports the dome and crumbled Sikhara, and once contained free-standing figures of Vishnu
as well as Vishnu reliefs on each of the four sides. Vishnu's '10 Avatars' were placed around the
outside wall, seven of these survive.

10th-century pagoda which features the bulbous shape favored by the Pyus. North of this
pagoda is the Pahtotharmya temple. These cylindrical types of pagodas were found in the
Sri Keshtra era. It is a 13 meter high cylindrical doom type pagoda. Many of the greenglazed tiles that covered it can still be seen. There are four monuments in Bagan which
are fully covered with green-glazed tiles and Ngakywenadaung Pagoda is one of them.
The meaning Ngakywenadaung is "the earing of Ngakywe".

Nwar Pya Gu Temple is a two-storey building. The lower level has two halls, the outer one
is seen as soon as entered into the building, the inner hall consists of four sitting Buddha
Images facing North, East, South and West. Most the stuccos are still in a good condition.
On the wall inside the temple are also filled with mural paintings.

This temple is popularly held to be one of five temples built by the non-historical King Taungthugyi
(931-964) referred to history. But some of the archeologists also mark that it was built by King Sawlu
by the references of the wall paintings which dates back only to the 11th Century. King Taungthugyi
was also known as Nyaung U Sawrahan. This temple was known to have been built like one of those
in Thaton. Therefore, the temple compose of many Mon style paintings in the inside. Pahtothamya
temple has a long hall which lengthens towards the East. This monument has a harmonious
proportion, having a height of 26 meter, 30 meter on the side and the hall has 17m of length. The
interior of this single-storey building is dimly lit, typical of the early type of Pyu-influenced temples
with their small, perforated stone windows. In its vertical superstructure and lotus-bud sikhara,
however, the monument is clearly beginning to move forward from the Early period. Painting
remnants along the interior passages may rate as the earliest surviving murals in Bagan. There are
four smaller temples surrounding Pahtothamya Temple and inside theses temples are magnificent
artistic Buddha Images.

Near the Bupaya, lies this pagoda in Sinhalese character. This pagoda contains relics
mounted on top of the bell-shaped main structure in a square-based relic chamber.

After the conquest of Thaton, King Anawrahta carted off 30 elephant-loads of Buddhist
scriptures. The he built this library to house them in 1058. The design follows the basic
Early Bagan Cave Style known as "Gu", perfect for the preservation of light-sensitive,
palm-leaf scriptures. It was repaired in 1738 by King Bodawpaya of the Kongbaung
Dynasty. The architecture of the square building is notable for the perforated stone
windows and the plaster carvings on the roof in limitation of Myanmar architectural
woodcarvings.

The reclining Buddha image's head is oriented toward the south, which would indicate that the
Buddha depicted, is in a resting rather than dying or parinibbana state. One view holds that the
orientation and iconography clash because the architects didn't want the Buddha's back to face
Shwesandaw. In Buddhist iconography throughout Asia, however, reclining Buddha figures always lie
on their right side, a preferred sleeping and dying posture with antecedents in Indian yoga (to keep
the left nostril clear, thus stimulating the Ida nerve channel along the spine to induce a clear, restful
state). The historical Buddha was thought to have passed into parinibbana while lying on his right
side; even today Theravada Buddhist monks are often exhorted to sleep on their right rather than
left sides.

Based on chronicles, there was also a saying that King Alaungsithu died at this place. When King
Alaungsithu became old and suffered illness, his son removed him from the palace to this temple
and left him to suffer. But Alaungsithu became conscious enough to ask where he was, but
unfortunately his son came to kill him. It is a two-tired monument. The base form a square cellar
forming the main structure. There are four Buddha images seated around the sides of the central
block in the cellar. There are two original inscriptions on each side. King Bayinnaung was known to
have renovated some of the entrance of the Shwegugyi Temple later in his period.

The pagoda was also known as Ganesh or Mahapeine after the elephant-headed Hindu god whose
images once stood at the corners of the five successive terraces. The five terraces once bore
terracotta plaques showing scenes from the jalakas, but traces of these, and of other sculptures,
were covered by lather heavy-handed renovations. The hti, which was toppled by the earthquake,
can still be seen lying on the far side of the pagoda compound. A new one was fitted soon after tie
quake. Before when people were allowed to climb up the terrace of the pagoda, it was a great spot
to view the sunset of Bagan. But nowadays, to keep the ancient monuments in good shape, the
stairways have been closed down.

Sinmyarshin Temple is a two-storey building consisting of an entrance hall and the main
hall on the lower level. The main hall has two Buddha images, each facing east and west.
On the upper level are four sitting Buddha images facing North, East, South and West.
There are beautiful stuccos carvings of lotus which can be rarely seen in the Bagan
architectures. On the inner walls of the hall are mural paintings. But only 50% of the
original paintings can be seen now.

This six meter-high stone image of the Buddha was built in 1284, just before the Mongol
invasion. The image was built by the tuff from Mount Popa. It was in poor condition even
before the earthquake.

The western and northern part of the city wall were washed away by the river. There was
originally twelve gates during that time. Tharabar is derived from the Pali term
"Sarabhanga" meaning "shielded against arrows". Although most of the structure is
ruined, stucco carvings of the ogres can still be found. The gate is known to be guarded
by spiritual beings. On the left is the side of the gate is the brother "Lord of the Great
Mountain" and on the right side is the sister "Golden face".

Towering above the other monuments of Bagan, the magnificence in white which is the Thatbyinnyu
takes its name from the Omniscience of the Buddha. Thatbyinnyutanyan in Myanmar language,
Sabbannutanana in Pali, omniscience is given further explanation in contemporary inscriptions as
"knowing thoroughly and seeing widely."The plan of the Thatbyinnyu is not unlike that of the
Ananda-square, with porticoes on all four sides-but the eastern portico projects further than the
others, breaking the symmetry. Three receding terraces rise above each storey, ornamented with
crenellated parapets and corner stupas. Above the terraces of the upper storey rises a curvilinear
spire, surmounted by a slim, tapering stupa which takes the temple up to a height of 201 feet. The
great height of the temple and the vertical lines of the ornamental features-the plain pilasters, the
flame-like arch pediments, the corner stupas-give a soaring effect to the Thatbyinnyu. The eastern
portico has a central stairway guarded by two standing door-guardians. The stairway leads to an
intermediate storey where a corridor runs around the central mass. Two tiers of windows along the
walls make the interior bright and airy, but the walls are bare of painting except for some traces in
the western portico. Two stairs built into the thickness of the walls provide access to the terrace
above the eastern portico, from where an external flight of stairs leads to the upper storey. Here, a
huge image of the Buddha is seated on a masonry throne. A further flight of narrow stairs built into
the thickness of the walls leads to the terraces above the upper storey.

Wall paintings are interesting which often show Buddha in the position of
Dharmacakramudra with its disciples on each side. There are wall paintings of 30 Buddha
Images and ink inscriptions. The name of the temple is inscribed on the wall as
"Ahlodawpyae".

It is interesting for the fine frescoes of scenes from the jatakas. This durian-shaped
stupaed temple was modeled after Bodh Gaya in India. It has also murals depicting
scenes from the Jataka tales. But the best feature in this temple is the rooftop view of the
surrounding area even if it's not as high and acrophobic as those in its category. Access is
guided by the caretaker who will reveal his intention after such a wonderful tour by
soliciting appreciation for his sand paintings. Remember, nothing is free in Myanmar.
Location: Better accessed through Bagan-Nyaung Oo Rd. although Anawratha Rd. is
nearer but remote, just north of the dry creek.

this early period temple has some excellent stucco carvings on the outside walls. Ink
inscriptions in Mon language are found on the walls of the temple.

The rooms of the great monk were recently restored. There is a prayer hall with 24
columns of teak wood and with natural sculptures representing Shin Arahan. Hgnet Pyit
Taung also has the same carrier like the caves, which receive the monks for the
meditation and which are decorated paintings.

Cave temple. It is constructed with zig-zag corridors as the principal features of the
building. Dug into hillsides of the sandstone hills, the caves date from the 13th century.
Thamiwhet Umin contains an image of the Buddha, murals and a stone inscription
belonging to the 15th century

Unlike Thetkyamuni it has a stupa spire above the terraces. The interior walls are
adorned with paintings of fine floral patterns and Jataka stories with lines of Burmese
writing identifying them

Built into a cliff face close to the Shwezigon, the long, dimly lit corridors are decorated
with frescoes, some of which are thought to have been painted by Bagan's Tartar
invaders during the period of the Mongol occupation after 1287. The frescoes are dated
back to the 11th, 12th and 13th centuries. There are four entrances into the cave

there is a large image of the Buddha seated on a carved lotus throne. On the walls are
square panels of paintings describing the lives of the Buddha. There are doors on either
side of the pillars leading into a network of tunnels running deep into the hill. Inside
those tunnels are full of caves for prayer and meditation.

Inside the main hall consists of a sitting Buddha Image. There are also some Standing
Buddha Images with a blessing form. The mural paintings are on all the walls of the
temple.

temple with 5 faces, This represents the four Buddhas Kakusandra, Gaunagamana,
Kassapa and Gotama. But there are also some temples with five entrances, which
represents a place for the next Buddha to be, known as the "Arimadara".

His stupa is Sinhalese in style, with a square relic chamber above the bell. Sapada was
one of the monks who were later sent to Sri Lanka in the 12th century. He returned back
to Bagan in 1190 after spending 10 years in Sri Lanka. Although there was a lot of
mixtures from the Mahayana and Theravada Buddhism, Sapada's interpretation was
accepted by the King Narapatisithu and embraced by the people of Bagan.

Shin Arahan, the most vulnerable monk of Bagan period, was a native of Thatone known
as Suvannabhumi. His ordained name was Shin Dhammadasi. Having accomplished the
learning of Tipitaka (the three books of Buddhas teachings) and later on attained the
Arahathood, he became to be well-known as Shin Arahan. King Anawrahta who had long
been desirous of embracing the true Faith of Theravada Buddhism, was so delighted and
he so revered the most vulnerable that he built a place for him.

On the south and north sides of the temple are six windows, on each side. Inside the
main hall lies a sitting Buddha Image at the height of 7 feet. Most parts of the ceilings
are covered with mural paintings of the ancient time. The paintings consist of the lives of
Buddha, spiritual beings, the foot marks of Buddha and many more.

Inside the temple are some remains of the ancient mural paintings of Bagan period.
There are also Standing and Sitting Buddha Images with magnificent designs.

The pagoda's graceful bell shape became a prototype for virtually all later pagodas all over
Myanmar. The gilded pagoda sits on three rising terraces. Enameled plaques in panels around the
base of the pagoda illustrate scenes from the previous lives of the Buddha, also known as the 550
Jatakas. At the cardinal points, facing the terrace stairways, are four shrines, each of which houses a
four-meter-high bronze standing Buddha. These bronze Buddha images are known to be the last
survived images of the ancient time. Their left hands exhibit the vitarka or 'exposition' mudra while
the right hands are held palm outward, fingers straight up, portraying the gesture of abhaya or 'no
fear'.

Thagya Hit Temple is a two-storey building. There is a large sitting Buddha image in the
lower level. There are small passages to go up to the second level. There is an entrance
hall on the lower level and then an inner hall inside.

Thagya Pone Temple is a two-storey building with a large passage on the first floor. There
is a large sitting Buddha image in the lower level of the building and the first floor has a
large corridor. The beautiful scenes of Bagan can be seen from this corridor

near Hmya tha

It is a square structure with a porch projected on one side. Above the main square block are three
receding terraces on which stands the sikhara and a stupa finial. The flame-like arch pediments over
the the doorways, the pilasters and friezes are adorned with stucco carvings. The interior walls are
covered with panels, of painting which depict scenes from the life of Asoka, Convenor of the third
Buddhist Council and of the introduction of Buddhism to Ceylon. There are two small temples with
nice paintings, representing the former lives of Buddha or jatakas in particular in the hall, on the
walls and vault. The paintings reflect the conventions of the 12th C and represent the scenes of
everyday Indian life. Animal representations here are the most important of any temple in Bagan,
pigeons, corbels, peacocks, parrots, hares and elephants. In the hall there are 28 Buddha images,
check the geometric cornices, between the north and sout the walls are painted withthe 550 jatakas,
and in the west we see 16 Buddhas including 6 in large scenes

Inside there are some brightly painted frescoes on the walls and ceilings from the late
17th and early 18th century. The building is usually kept locked in order to protect them.
The Upali Thein was renovated during the reign of the Konbaung Dynasty in 1794 abd
1795. The walls now represent the previous 28 Buddha images, as well as scenes from
the life of Guatama Buddha.

The temple has a large sitting Buddha Image inside it, and lots of mural paintings too.
But the mural paintings found in this temple have been ruined by many causes. This
temple can be reached after visiting the Kyaukgu Umin.

It is a temple of classical architecture, bases square and large porch in north where there
lies a central pillar, and then a great sitting Buddha. Paintings are the true treasure of
this temple and they are rich of teaching on the atmosphere of Bagan of the ancient
time. Abeyadana meaning the "abandoned jewel" was a follower of Mahayana Buddhism
since the frescoes on the outer walls can be seen with images of the Hindus Gods like
Indra, Shiva and Vishnu. The inner shrine contains a large, brick-built seated Buddha, but
the fine frescoes are the main interest here. Of the many Buddha niches lining the walls,
most are empty. Some contain bodhi-sattvas and Hindu showing a Mahayana influence
accredited to the tastes of King Kyanzittha's Bengali bride.

The temple is in an Indian style, the monument consists of a large shrine room attached
to a smaller antechamber. The fine stuccowork on its exterior walls is in particularly good
condition. The Early period temple is also of particular interest for the well-preserved
paintings inside, which are thought to date from the original construction of the temple
and to be the oldest remaining in Bagan. The temple is typical of the Mon style in that
the interior is dimly lit by perforated rather than open windows. It is generally kept locked
and there are temple keepers from the village and can ask for permission to open it.

Mon temple, closed anda dark. Some of the interior floral designs based on flower, lives
of animals can still be seen inside the temple. Most of the wall paintings remain
unruined. The paintings also include the lives of Buddha.

The exterior and overall floor plan resemble the more remote Kyauk Gu Ohnmin, a rectangular box
topped by a smaller rectangle. Inside three seated Buddhas face the front of the building, and in the
back there's a huge reclining Parinibbana Buddha. All seem too large for their enclosures, and their
cramped, uncomfortable positions are said to represent the stress and lack of comfort the 'captive
king' had to endure. However, these features are not unique in Bagan.It is said that only the reclining
Buddha, in the act of entering nibbana, has a smile on its face, showing that for Manuha only death
was a release from his suffering. One can climb to the top of this pagoda via the stairs at the
entrance to the reclining Buddha chamber, at the back of the temple. Through a window you can
then see the face of the sitting Buddha, and from up at this level you'll realize that the gigantic face,
so grim from below, has an equally gigantic smile. During the earthquake of 1975, the central roof
collapsed, badly damaging the largest, seated Buddha, which has since been repaired.

Next to the Gubyaukgyi stands the gilded Myazedi or 'Emerald Stupa'. A four-sided pillar
in a cage between the two monuments bears an inscription consecrating Gubyaukgyi and
written in four languages - Pyu, Mon, Old Burmese and Pali. Its linguistic and historical
significance is great since it establishes the Pyu as an important cultural influence in
early Bagan and relates the chronology of the Bagan kings. The inscription was about the
Prince Rajakumar's feelings towards his father and the choice of the heir to the throne.

Situated in the village of Myinkaba, this 11th-century paya was built by Anawrahta to
expiate the killing of his half-brother, the preceding king, Sokkade, in man-to-man
combat. It stands at the Myinkaba stream, into which Sokkade's body and saddle were
allegedly disposed. His half-brohters Sokkade and Kyiso had wrested the Bagan throne
from Anawrahta's father and he got it back by slaying Sokkade with his mythical spear
well-known as "Araindama". Since it was built before Anawrahta's conquest of Thaton, it
is also an interesting example of the religious architecture existing before the influence of
the southern school of Buddhism had made itself felt.

Inside the temple, the main Buddha image is twice life size and shelters under the hood
of a huge naga, or serpent. The outer, dark corridor has many niches with images of the
earlier Buddhas. Paintings also decorate the corridor walls. The central shrine has two
smaller standing Buddhas as well as the large one. The small ruined stupa of Pawdawmu
Paya is located nearby.

There is also another story saying that the shrine was originally Hindu. Supposedly his
captors thought that using it as a prison would be easier than converting it to a Buddhist
temple. But also some say that the temple was built by Manuha's grand-nephew known
as Prince Naga Thaman in the late 11th century. It is made of sandstone masonry block
facings integrated over a brick core. It is particularly fine. It consists of perforated stone
windows which are typical of earlier Bagan architecture. Nanpaya is in fact Bagan's first
"gu-style" (cave) shrine. It also features interesting arches over the windows. In the
central sanctuary the four stone pillars have finely carved sandstone bas-relief figures of
four-faced Brahma. The creator deity is holding lotus flowers, thought to be offerings to a
free-standing Buddha image once situated in the shrine's centre, a theory that dispels
the idea that this was ever a Hindu shrine. The sides of the pillars bear ogre-like heads
with open mouths streaming with flowers. According to the Myanmar legend, the face of
the orge represents the guardian and eats flowers instead of meat.

Pawdawmu Pagoda is a small pagoda of unique form and architecture. It is about 16 feet
in height and located just across the Somingyi kyaung. It was built during the 11th
century. It is a well-preserved building, because it was encased in a covering of brick. It
rests on three triple terraces, which are in the form of a hexagon. Between the rims, of
the bell-shaped dome and the highest or third terrace is generally found a circular or
octagonal protuberance. In this monument, the second protuberance is in the form of a
hexagon. Over the hemispherical dome in the place of the usual concentric rings, there is
an obelisk supporting a small conical finial resting on a capital of lotus petals.

It is a square temple with four entrances through projecting porches, the main one facing
west. The superstructure consists of the usual terraces and a sikhara resting on a square
basement. It constitutes a dual with the adjoining Seinnyet Nyima.

But above the dome rests a ribbed, bowl-shaped disc-the amalaka or myrobalan fruitwhich makes the Seinnyet Nyima a distinctive type. Above the bowl-shaped disc rises a
truncated conical finial which is made distinctive by the pronounced rings encircling it.
Traditionally assigned to 11th century A.D.

The Soe-min-gyi is a large, elaborate type of monastery, square in plan, with a double-storeyed
sanctum on the western side and a vestibule on the east. It can also be reached easily from the main
road by climbing a small raised ground to the west. These monasteries were built "to give a pleasant
shade agreeable in all three seasons" as recorded in a Bagan inscription. A pagoda to the north and
cave to the south are also ascribed to Soemingyi. Soemingyi is rectangular as well as square, and
has a large central hall surrounded by cells. Square in plan, it has a vestibule on the eastern side and
a double-storeyed sanctum on the western side. There is a small central hall, with cells ranged along
its northern and southern sides. A staircase in the southeastern corner leads to the roof which was
made of wood and was flat. Most brick monasteries in Bagan were single block structures. Soemingyi
is unique in that it features monastic cells clustered around a courtyard.

The structure of this pagoda has a square base with many terraces leading to the top
part, which is a cylindrical dome on top, which is the main shrine. To hold up the weight
of the structure, sandstone blocks hold each corner giving more enforcement to it. There
are many glazed plaques describing the animals, flowers and the lifestyles of the Bagan
people

The Leimyethna temple, the "Temple of the Four Faces", is a beautiful example of a
single-storeyed temple built in the Late Style., which makes for a bright interior, where
there are remmants of murals portraying the 28 Buddhas of the Past, scenes from the
Jatakas, and the Final Life of Gotama Buddha. Unfortunately, many of the murals have
been lost in whitewash.

It is a single-chambered temple has very fine frescoes and a ruined, seated Buddha
image. The murals' similarity with those at Payathonzu has led some art historians to
suggest they were painted by the same hand. One of the murals represents the
'temptation of Mara' episode in which nubile young females attempt to distract the
Buddha from the meditation session that led to his enlightenment.

Since there are some possible Mahayana influence in the late time, the monument has
mural paintings referring bodhisattva figures. Two of the shrines contain vaguely Chinese
or Tibetan-looking mural paintings that contain bodhisattva figures. The complex is
usually locked. It's best to inquire at the museum in Old Bagan to make an appointment
for an inspection; in high season, it will probably be open most of the day for group tours.

double cave monastery,

two storey Indain style temple, beautiful stuccos on exterior and internal jatakas

Indian style temple, the inner walls are full of ancient mural paintings

sophisticated 2 story temple, some of the best brick work in Bagan. Some of the finest
carved stucco on mouldings, pediments and pilaters. Glazed plaques around the base
and terraces

beautiful 2 story temple, was not completed. Stucco characters at the front are rare

faded jatakas, secular painting of a boat race

walls have beautiful Buddha paintings

seldom visited, difficult access, remarkable paintings, jataka paintings, footprint of the
Buddha in entrance hall, Brahma and Sakka protect the entry. Two Bodhisattvas keep the
furnace bridge, whereas the horoscope of the life of the Buddha appears on the vault. In
the furnace bridge the life of the Buddha is distributed on 3 wings. In the part of the
Northern wing on the walls East and West, Buddha vis-a-vis Paranirvana. Buddha
teaching 2 monks. Finally a usual scene of the combat against the army of Mara, and of
paintings showing the teaching Buddha will sutras them. These temples are in general of
small size with a square base.

It is a temple similar to the type Bodh Gaya which makes think of Mahabodhi or
Gubyaukgyi of Wetkyi-In. The temple faces the east. There is no opening on the north or
the south sides as in Gubyuakgyi. The terraces are crenulated with obelisks at the 4
corners. Vaults painted of geometrical reasons and scenes of the jatakas and gracious
sculptures on Sikhara can still be found on the walls.

Kyaunggyi Ama Temple is one large temple in Thiripyitsaya region. It is a two-storey

building with a square base and a stupa on top. Kyaunggyi Ama means "the elder sister
of the great temple". This temple consists of an entrance hall leading to an inner hall.
Some ruins of a large sitting Buddha Image lies inside the inner hall of the temple. As
usual, there are wall paintings of the 550 jatakas of the lives of Buddha. There are also
Myanmar and Pali ink inscriptions on the wall. Some of the stuccos can still be seen.
Nearby is another similar temple known as Kyaunggyi Nyima.

It is a two-storey building with a square base and a stupa on top. Kyaunggyi Nyima
means "the younger sister of the great temple". Although similar in name with Kyaunggyi
Ama, the structure of the temples are different. It is a Zedi Pauk Cave type with no
entrance hall. It only consists of a main hall and then a zedi on top. There are mural
paintings of Buddha, ancient Bagan, lifestyle and more. Some of theses paintings can still
be seen.

The riverside and sunset views from Lawkananda are very good.

The two pagodas are similar to each other but the Eastern pagoda is larger than the
other one. Petleik means "Rolled leaves" resembles the shape of the pagodas in wrapped
leaf form. The Western pagoda is better preserved and has a bell-shaped dome. There
are unusual features of the dome and are four deep niches at the cardinal points to
house images of the Buddha. Anauk Petleik Pagoda has a damaged bowl-shaped disc
rests on the dome, while Ashe Petleik has a box-like relic chamber occupying the corridor.
Series of Jataka plaques were originally complete, but many are now missing and some
are broken into fragments. In 1905, an excavating group revealed a twin 11th century
pagodas near Thiripyitsaya village. The pagodas were built not on a solid base as
expected, but on vaulted corridors, the walls of which were lined with hundreds of
unglazed terracotta tiles illustrating scenes from the jatakas. New roofs were built over
these twin tiers of tiles, many of which are still in excellent condition, particularly in the
better preserved Anauk Petleik Paya. The buildings themselves are not very impressive
but are of ancient architecture.

Seddana Pagoda is a pagoda on the medieval Sinhalese dagaba, and has a bell-shaped
dome on a circular base. This large, bell-shaped pagoda is set on four square terraces,
each fronted by a standing Buddha image in brick-and-stucco. On each side of the
terraces, at the base of the pagoda, are 39 images of elephants making a total of 156
elephants. At the southwest base of the pagoda, there is an entrance inside the
monument. Inside, there is a 4 feet square-type stone box in which are ancient glazed
plaques and bronze images. The pagoda was built by Htilominlo and stands slightly south
of Thiripyitsaya.

The name of the pagoda, Dhammayazika or Dhammarajika in Pali means "Pertaining the
King of Law. The structure of Dhammayazika Pagoda has pentagonal terraces instead of
the usual Bagan pagodas, the square base. There are three receding terraces,
ornamented with glazed Jataka plaques. On each side of the pagoda, there is a small
temple housing an image of Buddha. The usual practice in most temples was to have
four images facing the cardinal points, representing the four Buddhas of the present
world cycle who have already attained Enlightenment. But in this pagoda the fifth temple
is placed with the future becoming Buddha. All the five names of the Buddha are
Kakusandha, Konagamana, Kassapa, Gotama and Metteyya.

Thitsawadi Temple is a three-storey building, which is a rare monument in Bagan. Most of

the temples in Bagan are found as two-storey buildings. It is a large temple with ancient
architectures of Bagan. Beautiful stuccos and interesting mural paintings can be found in
this temple. There is also a stone inscriptions dating back to A.D 1334, written about the
donation of the temple, land and slaves to maintain and protect the temple from other
harms. And also there are ink inscriptions about maintenance of the temple in A.D 1484.

Sunset views
of Chauk
Hpaya Hla
Kyaung and
the river